scholarly journals RESTAURANTS AND TAVERNS IN SHEVCHENKO’S STORY “THE ARTIST” (FROM THE NEW COMMENTARIES)

2021 ◽  
pp. 35-52
Author(s):  
Oleksandr Boron
Keyword(s):  
19Th Century ◽  
Second Line ◽  
Early 19Th Century ◽  
The Third ◽  
Current Address ◽  
The One ◽  
Opposite Corner

Besides specifying or clarifying the current address of the restaurants and taverns mentioned in the story, it appeared necessary to give a minimum description of this or that eating-house as most of the relevant names and cases of comparing and contrasting some of them say little to a common reader and sometimes to a specialist as well. The study of these restaurants and taverns adds many new details to Shevchenko’s biography. Based on the information of the author’s contemporaries (mostly from the 1830s—1840s), descriptions in the fiction ot the time, as well as city guides and directories, the paper presents characteristics of St. Petersburg restaurants and confectioneries of Alexander, Delli, Dume, Klee, Saint Georges, the Roman cafes Lepri and Greco. The paper proves that Madame Jurgens’ eating-house was located not on the sixth line of Vasilyevsky Island, but the third one, near the Great Avenue, not far from the wine cellar of Ja. Vochts on the second line. It refutes the erroneous localization by M. Morenets who believed that Jurgens canteen worked in a house at the modern address 6 Buzky Lane / 7 the 6th line. In fact, there was a tavern “The Golden Anchor”, which is also visited by the characters of the story. There is evidence that allows assuming that the tavern “Berlin” mentioned in the story as one in the corner of the 6th line and Academic Lane was located at the modern address 3 6th line / 10 Academic Lane, because since the early 19th century there was a wine shop in this particular building, and not in the one at the opposite corner. When not lacking money to pay, Shevchenko and his Academy classmates had lunch mostly in Madame Jurgens’ eating-house. If they could afford it, getting paid for a portrait or something, they visited the restaurant Klee. K. Bryullov could sometimes invite them for dinner at Delli’s confectionery or Alexander’s restaurant. Shevchenko also knew some other aristocratic eating-houses and, of course, just heard of Roman cafes from others.

„Staunest Fremdling / Diese Stein an?“ Das Außen des Innen in Tourismus und Idylle

2021 ◽  
Vol 50 (1) ◽  
pp. 17-33
Author(s):  
Jan Gerstner
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
The Other ◽  
Specific Difference ◽  
Early 19Th Century ◽  
Tourist Gaze ◽  
Structural Analogy ◽  
The One

Abstract This article examines the structural analogy between the literary idyll and tourism that lies in the specific difference between idyllic and touristic spaces on the one hand and those of a modern, functionally differentiated, and rational everyday life on the other. The peak in the production of literary idylls as well as the onset of tourism in the late 18th and early 19th century can thus be conceptualized as a reaction to experiences of alienation due to emerging processes of modernization. An analysis of Goethe’s Der Wandrer shows however how literary idylls not only helped to shape the tourist gaze, but also reflected on the touristic and idyllic experience as an experience between foreignness, alienation and belonging.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

The treatment of syntax by some early 19th-century linguists

1998 ◽  
Vol 25 (3) ◽  
pp. 257-284 ◽  
Author(s):  
Giorgio Graffi
Keyword(s):  
19Th Century ◽  
Word Order ◽  
Common Core ◽  
18Th Century ◽  
The Other ◽  
Early 19Th Century ◽  
Human Thought ◽  
The Common ◽  
Historical Comparative ◽  
The One

Summary This article examines the views about syntax held by Humboldt, on the one hand, and by the founders of historical-comparative grammar (Bopp, Rask, Grimm, Pott, Schleicher), on the other. In general, it is noted that the grammaire générale tradition of 17th and 18th centuries still survives in the work of such scholars, despite of all criticism they seemingly raised against it. For Humboldt, the common core of all languages has its source in the identity of human thought; also his treatment of the verb and especially his reference to a ‘natural’ word order (i.e., SVO) are clearly reminiscent of this tradition. Traces thereof are also found in Bopp’s analysis of Indo-European conjugation, and in some of Rask’s writings. For instance, Rask, just as Humboldt, assumes a ‘natural’ word order and proposes a list of possible syntactic forms which closely remind us of Girard’s membres de phrase. Grimm’s position appears as more innovative, heavily influenced by a Romantic view of language, but some older conceptions sometimes show up in his work, e.g., when he deals with the notion of ‘subject’. Pott does not completely reject general grammar and a logically-based view of language; he only stresses the need of a more empirical approach than that adopted by the 17th and 18th century linguists. This picture radically changed with Steinthai and Schleicher: the former scholar pronounced a ‘divorce’ between grammar and logic, while the latter one argued that syntax does not belong to linguistics proper and rejected any possibility of postulating syntactic distinctions which do not have any direct morphological correlate.

Teacher Education in México

2019 ◽  
Author(s):  
Edmund T. Hamann ◽  
Juan Sánchez García ◽  
Yara Amparo López López
Keyword(s):  
Teacher Education ◽  
Public Schools ◽  
19Th Century ◽  
Indigenous Populations ◽  
Early 19Th Century ◽  
Teachers Union ◽  
History Of Teacher Education ◽  
History Of ◽  
The One ◽  
Education In Mexico

While teaching and therefore teacher education in Mexico can, in one sense, be traced back to pre-Conquest Aztec military academies, the first significant expansion of Western-style schooling in Mexico occurred in the early 19th century, while the first substantial national efforts at teacher education date to the Porfiriato in the late 19th century. In the 100-plus-year history of teacher education in Mexico, attention has been episodic, has often reflected national refractions of ideas originating elsewhere, and has been centrally intertwined with national governmental efforts to shape what it means to be Mexican. Variously, teacher education has been buffeted by attempts to be Catholic, modern, secular, socialist, neoliberal, and globally competitive economically. In all of this, there has been a tension between centralist (focusing on Mexico City) and nationalist impulses, on the one hand (making teaching patriotic work and the teachers’ union part of the national government), and attention to regional variations, including Mexico’s indigenous populations, rural populations, and economic diversity, on the other. While Mexico’s more than two million teachers may all work in the same country, where one is trained (i.e., which escuela normal, or normal school), where one works (from public schools in affluent and stable neighborhoods to rural telesecundarias where resources are scarce and teachers are not expected to be content area experts), how many shifts one works (it is common for Mexican educators to work at more than one school to compensate for limited salary), which state one works in (funding varies significantly by state), and what in-service professional development one has access to all mean for variations in teacher preparation and teacher praxis.

Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century

2020 ◽  
Vol 1 (13) ◽  
pp. 49-80
Author(s):  
Dominika Maszczyńska
Keyword(s):  
19Th Century ◽  
Piano Technique ◽  
Musical Life ◽  
Early 19Th Century ◽  
Artistic Activity ◽  
History Of ◽  
Fruitful Cooperation ◽  
And Performance ◽  
The One ◽  
The 19Th Century

Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.

scholarly journals RESETTLEMENT IN A RURAL REGION IN THE LATE 18TH AND EARLY 19TH CENTURY AS AN ANTHROPOGENIC IMPACT ON THE ENVIRONMENT

2020 ◽  
Vol 30 (4) ◽  
pp. 589-597
Author(s):  
V. V. Kanischev ◽  
K. S. Kunavin ◽  
S. K. Lyamin
Keyword(s):  
19Th Century ◽  
Anthropogenic Impact ◽  
Rural Settlements ◽  
Early 19Th Century ◽  
Land Surveying ◽  
Land Survey ◽  
The Subject ◽  
The One ◽  
New Settlements ◽  
General Land Survey

This paper studies in depth an anthropogenic impact on the environment during the formation and development of rural settlements and the exploitation of the surrounding environmental resources. The subject of study is resettlement on a section of the territory of former Tambov uyezd of Tambov Governorate. The land surveying records of the late 18th and early 19th century (General Land Survey plan and Mende Land Survey plan, as well as their Economic notes) were used as sources. The surveying records are supplemented by some narrative sources - particularly, an article by a famous writer and opinion journalist of the mid 19th century, a Tambov landlord, I. R. Gruzinov, which depicts a typical Tambov steppe village. The results of the study revealed key trends in resettlement in Tambov Governorate during the late 18th - early 19th century. On the one hand, there was a sharp increase in the proportion of very large villages; on the other, the number of small new settlements was growing, including through resettlement from villages that had become very large.

scholarly journals Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Jeremy W. Sexton
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Detailed Examination ◽  
Joseph Haydn ◽  
Early 19Th Century ◽  
Human Voice ◽  
The Third ◽  
Late 18Th Century ◽  
New Instrument ◽  
Johann Nepomuk Hummel

This paper examines Anton Weidinger, the 18th- and early 19th-century keyed trumpet player for whom Joseph Haydn and Johann Nepomuk Hummel composed their trumpet concerti. As the most successful of many attempts to chromaticize the trumpet in the late 18th century, during which the Baroque clarino style of trumpet-playing was waning, Weidinger’s keyed trumpet enjoyed a short-lived period of prominence from about 1800 to 1804, the period during which Weidinger premiered these two concerti. Subsequently, the keyed trumpet declined in popularity, and eventually it was replaced by the valve trumpet. Both concerti emphasize the chromatic capabilities of the new instrument. A detailed examination of some passages from the third movements of the two concerti suggests a deliberate attempt on the part of Hummel (perhaps under Weidinger’s influence) to “quote” and outdo the most virtuosic passages in the Haydn concerto and to cast the new instrument as capable of playing in a “singing” operatic style. Musical quotation from Luigi Cherubini’s opera Les Deux Journées further cements the implicit connection Hummel draws between the keyed trumpet and opera (and, by extension, the human voice). The paper concludes that Weidinger and Hummel sought, in Hummel’s concerto, to announce to the musical world that the trumpet was ready to move beyond its Classical status as a tutti instrument. Though the success of Weidinger and his keyed trumpet was transient, the two concerti composed for him today stand as cornerstones of the solo trumpet literature.

scholarly journals The Diplomatic Status of the Joseon Kingdom in the Context of the Competition among China, Japan and Russia on the Korean Peninsula (Late 19th Century)

2020 ◽  
Vol 34 ◽  
pp. 83-89
Author(s):  
L. E. Kozlov ◽  
Keyword(s):  
19Th Century ◽  
Great Powers ◽  
The Other ◽  
Late 19Th Century ◽  
The Third ◽  
Fourth Level ◽  
Qing Government ◽  
The One ◽  
Global Arena ◽  
The 19Th Century

At the end of the 19th century Korea took the first steps towards developing a modern model of diplomacy. This process was hampered by the inertia of vassal-suzerain relations with China and the uncertain status of Korea on the global arena. The author analyzed the indications of incomplete sovereignty of the Joseon Kingdom and its attempts to conduct sovereign diplomacy. The attitude of the great powers to Joseon has been considered. The uncertainty of Korea's diplomatic status at the end of the 19th century can be illustrated by the following contradiction. On the one hand, the great powers recognized Korea's sovereignty as a limited one and assigned a minister resident or consul general, which corresponds to the third and fourth level of a diplomatic representative. On the other hand, the Qing government prevented Joseon from pursuing an independent foreign policy, but could not shape it at its discretion. In 1901-1902, the diplomatic status of the Joseon Kingdom finally became fully sovereign de jure, de facto though internal problems and weaknesses did not disappear, and in 1904–1905 a Japanese protectorate over Korea was established.

Natural History, Exploration, and Landscape in 19th-Century Chile

2021 ◽  
Author(s):  
Patience Schell
Keyword(s):  
Natural History ◽  
19Th Century ◽  
Cultural Change ◽  
Scientific Knowledge ◽  
National Development ◽  
Territorial Expansion ◽  
Early 19Th Century ◽  
Museums And Collections ◽  
The One ◽  
The Right

In the early 19th century, in recently independent Chile, a symbiosis emerged between various governments, on the one hand, and Chilean and foreign naturalists, on the other, who all realized that there was much to learn about Chile scientifically, and that this scientific knowledge had a range of uses. This joint interest resulted in state-sponsored projects and private trips that included mapping, investigating Chile’s natural resources, and gathering flora and fauna for cataloguing, collecting, and exchanging. Traveling naturalists, government-sponsored surveyors, amateur enthusiasts, and foreign visitors journeyed through Chile by foot, mule, horse, boat, and, eventually, train, heading north and south, to the mountains, plains, desert, and coast, in small and large groups, appropriating local knowledge, gathering materials, taking measurements, and writing letters, reports, and books on what they found, who they met, and what opportunities these regions offered. These trips contributed to the development of museums and collections in Chile and beyond, and to the discipline of natural history in Chile. Moreover, the circulation of objects and publications, not just in Chile but transnationally, brought Chile’s flora, fauna, and geography to greater international awareness and also into scientific discussions. This natural history work also contributed to cultural change and territorial expansion, generating ideas about territories as hospitable or hostile, dreary or picturesque, offering opportunity or being without development potential. As these naturalists and explorers built on each other’s opinions, they created an accepted narrative about particular landscapes and geographies that moved into other arenas. In the 1840s and 1850s, one of these narratives was that the southern region of the indigenous Mapuche people, militarily occupied and incorporated into Chile (1860–1883), was both a landscape of impenetrable forests and constant rain and a picturesque landscape of fertile opportunity for Chilean national development, presuming the “right” settlers could be attracted. Meanwhile, the arid north, including the Atacama Desert, over which Chile went to war with Bolivia and Peru (the War of the Pacific, 1879–1884), was depicted as hostile, monotonous, and dangerous, with little aesthetic merit, but also as a region that offered opportunities through its mineral wealth. The snow-capped Andes and fertile valleys of central Chile, in which the capital Santiago and the main port city of Valparaíso are located, became landscapes that represented the nation. Thus, naturalists contributed to greater scientific knowledge about Chile, building collections and inserting new flora, fauna, and geography into global scientific debates, while also creating draft meanings about particular landscapes and regions that spread well beyond natural history.

Bohemian Love

1998 ◽  
Vol 15 (3-4) ◽  
pp. 111-127 ◽  
Author(s):  
Elizabeth Wilson
Keyword(s):  
19Th Century ◽  
Romantic Love ◽  
Turn Of The Century ◽  
The Other ◽  
Consumer Society ◽  
Early 19Th Century ◽  
Freudian Theory ◽  
Greenwich Village ◽  
The One ◽  
Human Desire

The rise of a bohemian subculture in the early 19th century drew on the Romantic beliefs in genius on the one hand and erotic passion on the other. Romantic love was a tragic, often forbidden passion and thus could include the most transgressive form: homosexuality. In the German bohemias of Munich and Berlin at the turn of the century, however, the influence of psychoanalysis as a radical new theory of human desire influenced the `erotic revolution' of the period; this moved bohemian love from an understanding of desire as a fatal passion to a celebration of it as a liberating and ecstatic force, albeit with sometimes disastrous consequences. The migration of psychoanalysis to the American bohemia of Greenwich Village inaugurated a further change as popularized versions of Freudian theory advocated the importance of sexual fulfilment in life, yet also became normative and prescriptive. The ironic conclusion drawn is that `bohemian love' has become the norm in a consumer society, yet shorn of its subversive and transgressive elements.

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