scholarly journals Bruckner’s Symphonies and Sonata Deformation Theory

2005 ◽  
pp. 5-17 ◽  
Author(s):  
Julian Horton
Keyword(s):  
Nineteenth Century ◽  
Deformation Theory ◽  
Critical Appraisal ◽  
Sonata Form ◽  
General Development ◽  
Recent Contribution ◽  
Normative Model ◽  
Critical Response ◽  
Relationship Of ◽  
The Relationship

Sonata deformation theory constitutes possibly the most substantial recent contribution to the analytical literature dealing with the sonata-type repertoire of the later nineteenth and early twentieth centuries. This notion, developed by James Hepokoski in relation to the music of Sibelius and Strauss and subsequently elaborated both collaboratively and separately by Warren Darcy and Hepokoski, posits nineteenth-century practice as a critical response to a theorized, normative model of sonata form. The widespread formal experimentation evident in the instrumental and symphonic repertoire from Chopin to Schoenberg arises, by these terms, from a more-or-less conscious distortion of the normative pattern proposed seminally by Anton Reicha, and consolidated in the Formenlehre abstractions of A. B. Marx and Carl Czerny, which in turn evolved as part of the pedagogical reception of Beethoven. This essay offers a critical appraisal of the extent to which deformation theory affords a satisfactory basis for understanding novel sonata procedures in Bruckner’s symphonies. The formal strategies of these works have proved habitually resistant to unproblematic sonata readings. Persistent accusations of formlessness have often been challenged by the detection of forming processes that cut across the perceived requirements of classical formal archetypes. Yet, pace Darcy’s study of deformational procedures in Bruckner (1997), I contend that this concept gives an inadequate rendition of the symphonies’ sonata forms, misrepresenting the nature of the composer’s didactic experience, the relationship of norm and deviation in the music, and the place the symphonies occupy in the general development of the genre after Beethoven.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

scholarly journals Nietzsche e a Historiografia Prussiana: análise de fragmentos póstumos da Primeira Fase de sua obra

Antíteses ◽  
2017 ◽  
Vol 10 (20) ◽  
pp. 979
Author(s):  
Celso Kraemer ◽  
Dominique Santos ◽  
Aniele Crescêncio
Keyword(s):  
Nineteenth Century ◽  
Point Of View ◽  
German States ◽  
Way Of Thinking ◽  
Relationship Of ◽  
The Relationship ◽  
As If

RESUMO Ao observar as relações de Nietzsche com seus contemporâneos verifica-se que ele estava ciente das principais discussões relativas à Unificação da Alemanha (1871). Para a unificação era necessário que os 39 estados alemães compartilhassem o sentimento de pertencimento a uma pátria comum. Nesse meandro, os historiadores prussianos do século XIX desempenharam papel fundamental ao produzir um ambiente filosófico nacionalista, uma maneira científica e objetiva de pensar sobre a história. O objetivo deste trabalho é compreender as interações de Nietzsche com estes círculos intelectuais. Para isto, foram selecionados quatro dos chamados fragmentos póstumos de Nietzsche datados entre 1871 e 1873. De acordo com o ponto de vista de Nietzsche, as pretensões dos historiadores, não tinham nenhuma crítica, pois acreditavam, ingenuamente, que a verdade era um alvo tangível. Por outro lado, ele indicou a necessidade de uma história ligada à cultura, que era trabalhada em conjunto com "instintos artísticos".  ABSTRACT By observing the relationship of Nietzsche with his contemporaries one can notice that he was aware of the main discussions related to the unification of Germany (1871). Unification required 39 German states to share the feeling of belonging to a common homeland. Prussian historians of the nineteenth century played a key role in producing such a nationalist philosophical environment, a scientific and objectivist way of thinking about History. This work aim is to understand the interactions between Nietzsche and this intelectual circles. For this purpose, four of the so-called posthumous Nietzsche fragments, dated between 1871 and 1873, were selected. According to Nietzsche's point of view, some historians had a naive pretension to reach the truth, as if it were a tangible target. On another hand, he pointed out the necessity of a link between History and Culture, which should be understood altogether with ‘artistic instincts’. 

The Science of Destruction

2014 ◽  
Author(s):  
Simon Werrett
Keyword(s):  
Nineteenth Century ◽  
Scientific Authority ◽  
Political Views ◽  
Late Eighteenth ◽  
Relationship Of ◽  
The Relationship ◽  
Explosive Chemicals

This chapter surveys the evolution of chemical and mechanical weapons used by terrorists between the late eighteenth and early twentieth centuries, ranging from the diabolical contraptions of “infernal machines” to dynamite, the terrorist’s favorite explosive, invented by Alfred Nobel in the 1860s. The chapter also explores the ingenuity of terror. While anarchists and revolutionaries who used explosive chemicals are often represented as merely consumers of the latest scientific creations, the chapter argues that in fact these communities showed considerable ingenuity in devising new weapons. A brief case study of the career of Irish nationalist Robert Emmet’s rockets in the pre-dynamite era demonstrates this. The chapter concludes by considering the relationship of terror and science, and contrasts the radical political views of terrorists with their typically unchallenging acceptance of scientific authority and opinions in the nineteenth century.

Mendelssohn and the Idea of the North

2020 ◽  
pp. 115-139
Author(s):  
Sarah Clemmens Waltz
Keyword(s):  
Nineteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Folk Song ◽  
German Culture ◽  
Early Nineteenth Century ◽  
The North ◽  
Relationship Of ◽  
The Relationship

This chapter re-evaluates Felix Mendelssohn’s ‘Scottish’ works by placing them in the context of the early-nineteenth-century North German view of Scotland, especially as channelled through Mendelssohn’s mentors Johann Wolfgang von Goethe and Carl Friedrich Zelter. Such interest in Scotland was undergirded by a belief in a shared German-Celtic past and a sense that Scottish culture was not exotic but rather essentially German. Figures in Mendelssohn’s circle participated in deliberate attempts to claim a general northern antiquity for German culture, using arguments concerning the relationship of climate, race, and character. A recontextualization of Scotland as representing a lost German past may signal additional reinterpretations of Mendelssohn’s anticipations of travel, his travel experiences, and his statements concerning folk song, as well as his Fantasy, Op. 28, originally titled Sonate écossaise.

Interzone History

2017 ◽  
Author(s):  
Randall Halle
Keyword(s):  
Nineteenth Century ◽  
Great Britain ◽  
Historical Development ◽  
Rising Powers ◽  
German Empire ◽  
Moving Image ◽  
Relationship Of ◽  
The Relationship

This chapter looks at the latter part of the nineteenth century when film makes its appearance, and at which point old multiethnic empires such as the Austro-Hungarian, the Russian, or the Ottoman competed with the colonial powers of France and Great Britain, and new rising powers like the German Empire, for world domination. The moving image that entered into the medial apparatus intimately connected to questions of nationalism and imperialism. The chapter focuses on the historical development of cinema from the early silent to early sound eras. It seeks to revise that history by considering the relationship of the cinematic apparatus to the imperial and national social configuration, while underscoring the production of interzones in those relationships.

Premodern, Antimodern or Postmodern? Islamic and Western Critiques of Modernity

1997 ◽  
Vol 59 (3) ◽  
pp. 429-460 ◽  
Author(s):  
Roxanne L. Euben
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Political Thought ◽  
Dialectical Relationship ◽  
Definition Of ◽  
Relationship Of ◽  
The Relationship ◽  
Modern Condition

The steadily increasing appeal of Islamic fundamentalist ideas has often been characterized as a premodern, antimodern or, more recently, as a postmodern phenomenon. To explore the relationship of Islamist political thought to modernity, and the usefulness of the terminology of “modernity” to situate and understand it, this article explores two comparisons. The first is a comparison across time, and involves the juxtaposition of a prominent nineteenth century Islamic “modernist” and the critique of modernity by an influential twentieth century Islamic fundamentalist thinker. The second is a comparison across cultures, and involves the juxtaposition of this Islamic fundamentalist critique and many Western theorists similarly critical of “the modern condition.” These comparisons suggest that Islamic fundamentalist political thought is part of a transcultural and multivocal reassessment of the value and definition of “modernity.” Such reassessments should be understood in terms of a dialectical relationship to “modernity,” one that entails not the negation of modernity but an attempt to simultaneously abolish, transcend, preserve and transform it.

British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama

1988 ◽  
Vol 4 (14) ◽  
pp. 122-143 ◽  
Author(s):  
Jim Davis
Keyword(s):  
Nineteenth Century ◽  
New South ◽  
Real Life ◽  
Theatre History ◽  
Popular Theatre ◽  
South Wales ◽  
Theatre Studies ◽  
The University ◽  
Relationship Of ◽  
The Relationship

In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.

Response for Forum in Cambridge Journal of Postcolonial Literary Inquiry

2019 ◽  
Vol 6 (03) ◽  
pp. 384-387
Author(s):  
Arjun Appadurai
Keyword(s):  
Critical Response ◽  
Relationship Of ◽  
The Relationship

I am grateful for the responses to my essay on “repeat viewing” by Kabir, Mazumdar, and Wong, each of whom offers a sympathetic critical response, pointing to ways of elaborating and complicating my argument about the relationship of repetition to difference in Bollywood films. In this comment I stress issues of genre, history, and context.

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