scholarly journals Il signor Erminio Ekdal and the first translation of "The Wild Duck": domesticating Henrik Ibsen for late Nineteenth-Century Italy

2006 ◽  
Vol 1 (1) ◽  
Author(s):  
Giuliano D’Amico
Keyword(s):  
Nineteenth Century ◽  
Henrik Ibsen ◽  
Late Nineteenth Century ◽  
Original Play ◽  
Italian Translation ◽  
Wild Duck ◽  
Cultural Milieu ◽  
Late Nineteenth ◽  
The Way

The article focuses on the first Italian translation of Henrik Ibsen's "Vildanden" ("The Wild Duck") made by Enrico Polese Santarnecchi and Paolo Rindler in 1891. The emphasis is on how the translators domesticated the character of Hjalmar Ekdal, making him look closer to an authoritarian, Italian man rather than the lazy husband Ibsen depicted. This had a clear impact on the way the play was received in Italy, and has its foundations in a cultural milieu which Polese knew well and which he felt was unable to accept the sharpest and most sarcastic aspects of the original play.

scholarly journals Identity considerations for a psychology based on a complex epistemology

2009 ◽  
Vol 2 (2) ◽  
pp. 158-166 ◽  
Author(s):  
Juan Carlos Jaramillo Estrada
Keyword(s):  
Quality Of Life ◽  
Nineteenth Century ◽  
Active Part ◽  
Late Nineteenth Century ◽  
Human Beings ◽  
The Poor ◽  
The World ◽  
Late Nineteenth ◽  
The Way

Born in the late nineteenth century, within the positivist paradigm, psychology has made important developments that have allowed its recognition in academia and labor. However, contextual issues have transformed the way we conceptualize reality, the world and man, perhaps in response to the poor capacity of the inherited paradigm to ensure quality of life and welfare of human beings. This has led to the birth and recognition of new paradigms, including complex epistemology, in various fields of the sphere of knowledge, which include the subjectivity, uncertainty, relativity of knowledge, conflict, the inclusion of "the observed" as an active part of the interventions and the relativity of a single knowable reality to move to co-constructed realities. It is proposed an approach to the identity consequences for a psychology based on complex epistemology, and the possible differences and relations with psychology, traditionally considered.

Scottish Gothic Drama

2017 ◽  
pp. 59-74
Author(s):  
Barbara A. E. Bell
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Good Deal ◽  
Late Nineteenth Century ◽  
Visual Effects ◽  
Gothic Revival ◽  
Performance Culture ◽  
Late Nineteenth ◽  
Music Hall ◽  
The Way

Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

La bohème’s Paris

2020 ◽  
pp. 35-56
Author(s):  
Alexandra Wilson
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
French Culture ◽  
Late Nineteenth ◽  
La Boheme ◽  
The City ◽  
The Way

This chapter analyses the ways in which La bohème was influenced by popular romantic representations of Paris and the ways in which it, in turn, helped shape them. It discusses the late nineteenth-century Italian fascination with French culture and the way in which Puccini’s opera was nostalgically depicting an old Paris that had been swept away by Baron Haussmann’s regeneration of the city. The chapter considers Puccini’s conception of Bohemianism, demonstrating that it had Italian as well as French roots. It examines the composer and his librettists’ reading of certain archetypal Bohemian figures, such as the good-hearted demimondaine, and of symbolic Parisian locations, such as the pavement café. The chapter concludes with a consideration of Puccini’s representation of ‘picturesque poverty’ and discusses the ways in which directors have attempted to make the work more or less gritty through their stagings.

Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’

2017 ◽  
Vol 7 (2) ◽  
pp. 124-142
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Short Story ◽  
Spatial Context ◽  
Late Nineteenth Century ◽  
Henri Lefebvre ◽  
Revolutionary Politics ◽  
Late Nineteenth ◽  
The City ◽  
The Way

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

Frege and the Surprising History of Logic: Introduction to Claude Imbert, “Gottlob Frege, One More Time”

Hypatia ◽  
2000 ◽  
Vol 15 (4) ◽  
pp. 151-155
Author(s):  
Emily Grosholz
Keyword(s):  
Nineteenth Century ◽  
Gottlob Frege ◽  
Late Nineteenth Century ◽  
History Of Logic ◽  
History Of ◽  
Late Nineteenth ◽  
The Way

Convinced that logic has a history and that its history always manages to surprise the philosophers, Claude Imbert has devoted much of her work to the study of the Stoic school and of the late-nineteenth-century German logician Gottlob Frege. In the fifth chapter of her book Pour une histoire de la logique, she examines the trajectory of Frege's awareness of what his new logic entails, in particular the way it subverts the project of Kant.

Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century

2007 ◽  
Vol 31 (2) ◽  
pp. 131-163
Author(s):  
Lydia Hamessley
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
Negative Impact ◽  
Three Dimensional ◽  
Musical Instruments ◽  
Late Nineteenth Century ◽  
Bourgeois Society ◽  
The New Woman ◽  
Late Nineteenth ◽  
The Way

During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of depicting a genteel lady in the parlor playing her beribboned banjo, the stereoviews presented humorous and sometimes risque scenes of banjo-playing women. Further, virtually no stereoviews exist that show the banjo played by a lady in a parlor setting. Through a study of stereoscopic depictions of women in a variety of scenes, I place these unexpected images of women's music-making in a context that explains their significance. In particular I examine the way stereoviews provide insights about the tensions regarding the position and status of women in late-nineteenth- and early-twentieth-century American culture as revealed in the figure of the New Woman. Typical of constructions of this threatening figure, stereographic images picture the New Woman wearing bloomers, riding bicycles, attending college, smoking, neglecting her wifely duties and children, and even indulging in lesbian eroticism. Yet, stereoviews are distinctive in that they also show the New Woman playing the banjo, and I argue that the link between the banjo and the New Woman had a decisive and negative impact on the effectiveness of the banjo elevation project. Through an examination of these three-dimensional views, and drawing on late-nineteenth-century writing and poetry about the banjo, I show how the banjo in the hands of the New Woman became a cautionary cultural icon for middle- and upper-class women, subverting the respectable image of the parlor banjo and the bourgeois women who played it. I place this new evidence in the context of Karen Linn's paradigm describing the banjo elevation project as one that sought to shift the banjo from the realm of sentimental values to official values. The figure of the New Woman does not fit within Linn's dichotomy; rather, she falls outside both sets of values. Often viewed as a third sex herself, in a sense mirroring the gender tensions surrounding the banjo, the New Woman helped to shift the banjo into a third realm, that of revolutionary and perhaps even decadent values. This study enhances what we know about the way musical instruments have been used to reconfigure attitudes toward gender roles in the popular imagination and furthers our understanding of the complex role women have played in the history of the banjo. Moreover, this evidence demonstrates how gender and sexuality can affect the reception of music, and musical instruments, through powerful iconographic images.

The Promise and Threat of Reproducibility

2017 ◽  
pp. 25-53
Author(s):  
Erika Balsom
Keyword(s):  
Nineteenth Century ◽  
Film Theory ◽  
Distribution Networks ◽  
Late Nineteenth Century ◽  
Moving Image ◽  
Late Nineteenth ◽  
Film And Video ◽  
The Way

Film theory has largely overlooked the fact that film and video are founded in an economy of the multiple. In this chapter, I outline a theory of the moving image as a reproducible medium that considers the way an image may be copied repeatedly so as to facilitate circulation across distribution networks. By moving into this domain, one confronts not the questions of indexicality, documentary, and realism that so often get asked in relation to the image’s status as a copy of the profilmic; rather, issues of authority, originality, and authenticity become paramount. This chapter unfolds what is at stake in approaching the moving image in this way and will examine how its reproducibility has been conceived of as both a utopian promise and the site of a dangerous inauthenticity since its emergence in the late nineteenth century.

Hunting as ‘Sport’ in Colonial India

2018 ◽  
pp. 161-219
Author(s):  
Vijaya Ramadas Mandala
Keyword(s):  
Nineteenth Century ◽  
Technological Change ◽  
Late Nineteenth Century ◽  
Colonial India ◽  
Horse Riding ◽  
The World ◽  
Late Nineteenth ◽  
Indigenous Hunting ◽  
The Way

This chapter is concerned with the development of hunting as ‘sport’, whereby colonial hunters from the late nineteenth century began to carefully shape the idiom of the hunt, gradually distancing themselves from indigenous hunting methods. By systematically showcasing their skill and sportsmanship, British hunters portrayed their methods and practices as more sophisticated than the older native traditions. This study also elaborates on how different terrains and environments determined the planning and organization of hunts by the British hunters across the presidencies. Rank, authority, and privilege not only operated between the colonizers and colonized, but also within the world of British hunting communities. In contrast to the Company period, hunting became a microcosm of imperial society in late nineteenth-century India, and different sorts of hunts and clubs were open to people of various ranks. In addition, the making of hunting into a ‘sport’ was heavily linked to a discourse of class and race, drawing upon ideas of chivalry and with only the most acceptable hunting practices encoded into sportsmanship. The development of a class-based regime of hunting is evident in the way pig-sticking came to be regarded as the most superior kind of hunt, because it required great skill in horse-riding and horsemanship, presented added danger and utilized the spear rather than the gun. The chapter also explains how technological change in firearms took place and the way in which such changes were related to the transformation of hunting mores in nineteenth-century India.

Cultivating Territorial Sovereignty in the Western Desert

2018 ◽  
Author(s):  
Matthew H. Ellis
Keyword(s):  
Nineteenth Century ◽  
Economic Development ◽  
Western Desert ◽  
Late Nineteenth Century ◽  
Territorial Sovereignty ◽  
French Colonial ◽  
Late Nineteenth ◽  
Egyptian Government ◽  
The Relationship ◽  
The Way

Chapter 4 explores the relationship between territoriality and economic development in late-nineteenth-century Egypt. It argues that this period witnessed a raft of projects aimed at what, in the French colonial context, was called mise en valeur—the reclamation of barren, unprofitable land. After surveying a number of such projects undertaken under the auspices of the Egyptian government, the chapter then turns its attention to the Khedive’s own grand development schemes in the Egyptian West. Foremost among these was the Maryut Railway, which he intended to run from the outskirts of Alexandria all the way to the Libyan border. The Maryut Railway functioned as one of several projects through which the Khedive sought to transform the Egyptian West into a more personalized realm of territorial sovereignty. In this regard, the Khedive strove to outdo the British Residency at its own logic of “economism” as a doctrine of ruling legitimacy.

Materialisms

2018 ◽  
Author(s):  
Eliyahu Stern
Keyword(s):  
Nineteenth Century ◽  
Jewish History ◽  
Physical World ◽  
Late Nineteenth Century ◽  
Russian Jews ◽  
Modern Jewish History ◽  
Late Nineteenth ◽  
The Way

It provides an overview of modern Jewish history in relation to the question of Jews’ and Judaism’s relationship to materialism. It explores the way in which Russian Jews in the late nineteenth century mobilized an imagined concept of land, labor, and body for various national and religious projects. Abstract conceptions of God, dogma, or ritual were not the primary elements that connected modern Jews to one another. Instead, it was a new conception of the physical world.

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