‘The Meanest Form of Animal’? The Returned Yank in the Cultural Imagination

2019 ◽  
pp. 1-42
Author(s):  
Sinéad Moynihan
Keyword(s):  
Nineteenth Century ◽  
Economic Recovery ◽  
Late Nineteenth Century ◽  
Cultural Representations ◽  
Cultural Imagination ◽  
Creative Landscape ◽  
The Public ◽  
Public Consciousness ◽  
Late Nineteenth ◽  
The 1950S

The introduction maps out the key assertion of the book: that the Returned Yank surfaces repeatedly and most memorably when questions regarding ‘tradition’ and ‘modernity’ are particularly vexed. Emphasising the rhetorical significance of the figure of the returned migrant in debates about Irish economic recovery since 2008, the introduction surveys both the creative landscape inhabited by the Returned Yank since the late nineteenth century. Acknowledging that cultural representations of the figure long predate the stated parameters of the book (1952 to present), the introduction goes on to demonstrate to extent to which a series of socio-political, demographic, scholarly, cultural, business-oriented and touristic interests and efforts collided and intersected in Ireland of the 1950s, ensuring that the issues of migration and return – and, most especially, the figure of the Returned Yank – became imprinted on the public consciousness in ways not previously witnessed.

scholarly journals IL SIGNIFICATO DEL BICENTENARIO. COME UNA CONCLUSIONE

2013 ◽  
pp. 175-178
Author(s):  
Giorgio Pestelli
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Late Nineteenth Century ◽  
Musical Drama ◽  
Contemporary Theatre ◽  
The Public ◽  
Bourgeois Society ◽  
Previous Generation ◽  
Art And Culture ◽  
Late Nineteenth

The meaning of the bicentenary that solemnizes Verdi and Wagner two hundred years after their birth essentially derives from the emotion of facing two personalities extraordinary for their creative energy and inventive continuity. In all fields of art and culture, the late Nineteenth century image is conditioned by their presence. Born the very same year, they both looked for and created by themselves the accomplishments that musicians of the previous generation already possessed when they were barely twenty years old. They reached almost at the same time both the revelation of their personality (Der fliegende Holländer 1841, Nabucco 1842), and the fullness of their artistic means (Rigoletto 1851, Der Rheingold 1853), before attaining the acme of their trajectory with the astonishing operosity of their final years.While the analogy of this parallel course is impressive, the individuality of their creative patrimony is no less strong. This dissimilarity – more than on aesthetic or dramaturgic reasons, such as the distinction between naif and sentimental, or between “melodrama” and “musical drama” – rests on the different environments where it took root, each of them with its own alternative ideas of bourgeois society, of relationship with the public, the contemporary theatre and literature: that’s why it is important today to engage to enlighten the cultural and social contexts in which the genius of the two masters developed.

scholarly journals The Meat City: urban space and provision in industrial Copenhagen, 1880–1914

Urban History ◽  
2017 ◽  
Vol 45 (2) ◽  
pp. 233-252
Author(s):  
MIKKEL THELLE
Keyword(s):  
Nineteenth Century ◽  
Urban Space ◽  
The Other ◽  
Late Nineteenth Century ◽  
The Public ◽  
Production And Consumption ◽  
Late Nineteenth ◽  
Ambivalent Attitude ◽  
The One ◽  
The City

ABSTRACT:This article investigates the emergence of the Copenhagen slaughterhouse, called the Meat City, during the late nineteenth century. This slaughterhouse was a product of a number of heterogeneous components: industrialization and new infrastructures were important, but hygiene and the significance of Danish bacon exports also played a key role. In the Meat City, this created a distinction between rising production and consumption on the one hand, and the isolation and closure of the slaughtering facility on the other. This friction mirrored an ambivalent attitude towards meat in the urban space: one where consumers demanded more meat than ever before, while animals were being removed from the public eye. These contradictions, it is argued, illustrate and underline the change of the city towards a ‘post-domestic’ culture. The article employs a variety of sources, but primarily the Copenhagen Municipal Archives for regulation of meat provision.

Some Late Nineteenth Century Perspectives on Sex and Emotional Expression

2000 ◽  
Vol 86 (2) ◽  
pp. 575-585 ◽  
Author(s):  
Ellen B. Braaten ◽  
Wayne Viney
Keyword(s):  
Nineteenth Century ◽  
Sex Differences ◽  
Emotional Expression ◽  
Public Interest ◽  
Scientific Research ◽  
Popular Literature ◽  
Popular Media ◽  
Late Nineteenth Century ◽  
The Public ◽  
Late Nineteenth

A review of nineteenth century popular literature indicates a deep and sustained public interest in sex differences in emotional expression. The conclusions advanced by popular writers included a catalog of perceived sex differences, reinforced by an essentialist philosophy that provided justification for the separation of sexual spheres and restrictions on political, educational, and vocational opportunities for women. Current scientific research on sex differences appears in popular media and is often presented in the context of an essentialist philosophy comparable with that which was dominant in the nineteenth century. Unfortunately, the subtleties and complexities of sex differences are not always communicated to the public and there is thus a potential for misinterpretation or even misuse.

Municipal Activism in Late-Nineteenth-Century Prague: The House Numbered 207-V and Ghetto Clearance

2003 ◽  
Vol 34 ◽  
pp. 247-278
Author(s):  
Cathleen M. Giustino
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Municipal Governments ◽  
Central European ◽  
The Public ◽  
Public Projects ◽  
European Cities ◽  
Common Process ◽  
History Of ◽  
Late Nineteenth

There was always much that was ordinary about the house numbered 207-V up to the time of its disappearance from Prague's built landscape in 1905. Like many other buildings sheltering some of the city's most underprivileged residents, this place had no artistic worth; no one had contemplated hanging a plaque on its exterior to commemorate a well-known person having slept inside its walls; no published material pointed out any history-altering event that took place behind or in front of its doors. The ordinariness of house 207-V becomes even greater when its final years are situated within the history of a common process taking place, with some exceptions, throughout nineteenth-century Central Europe. Many of the structure's last experiences were part of the growth of what German historians of Germany have called the “Leistungsverwaltung,” and what Austrian historians of Austria- Hungary have called “die aktive Stadt.”1 These two different lab ls are used to describe the fact that during the course of the nineteenth century, a great many Central European cities expanded tremendously, not only in terms of their territoriesś populations, but also in terms of the number and extent of public projects that their municipal governments managed. The public projects included, among others, gas and electric works, transportation lines, sewers, baths, parks, libraries, museums, market halls, slaughterhouses,

Singing Herself: Adelina Patti and the Performance of Femininity

2018 ◽  
Vol 71 (2) ◽  
pp. 287-369
Author(s):  
Roger Freitas
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Perfect Equilibrium ◽  
Way Of Life ◽  
Performance Style ◽  
The Public ◽  
Central Aspect ◽  
Late Nineteenth ◽  
Mode A

By any measure, Adelina Patti (1843–1919) must be considered the leading singer, if not the leading musician, of the later nineteenth century. Her sizable body of recordings (twenty-eight) makes her a key witness to late nineteenth-century performance style. Her great celebrity also ensured lavish written documentation of her life, including what she did, what people said about her, and sometimes what she said about herself. In this article I bring together these two types of material to consider a central aspect of Patti's life and artistry: her relationship to contemporary notions of femininity. Like all women who entertained before the public, Patti contended with the taint of immorality. I argue that her response to that taint shaped both her overall conduct and her particular vocalism. For while in truth her way of life fundamentally contradicted the reigning ideals of womanhood, Patti projected in her dress, her makeup, her public statements, her published imagery, and, most importantly, her stage characterizations and vocal styling the most perfect manifestation of femininity available: the virginal ingénue. The consistency of this self-performance encourages the identification of a similar persona in her singing, and indeed through close readings of several recordings I expose what I call her “maidenly mode,” a vocal strategy analogous to her other ingenuous representations. If many, like Verdi, found in Patti a “perfect equilibrium between singer and actress,” her example can begin to suggest to us what it meant to sound like an ingénue in late nineteenth-century Europe.

scholarly journals Saxon Kent versus Roman London? Presenting Borderland Heritage at the Faesten Dic in Joyden’s Wood, Kent

2020 ◽  
Vol 2 ◽  
pp. 1
Author(s):  
Ethan Doyle White
Keyword(s):  
Nineteenth Century ◽  
Fifth Century ◽  
Late Nineteenth Century ◽  
Historical Evidence ◽  
The Public ◽  
Western Border ◽  
Late Nineteenth

Standing on Kent’s western border with Greater London, the Faesten Dic in Joyden’s Wood is one of Britain’s less-well known linear earthworks. There has been speculation as to its origins since the late nineteenth century, although as of yet no conclusive dating evidence has been revealed. This article reviews the archaeological and historical evidence for the site, before exploring the ways in which the heritage of this earthwork has been presented to the public by the Woodland Trust, a charity which own Joyden’s Wood, focusing on how both information boards and installed sculptures have foregrounded the narrative of the earthwork as a fifth-century defensive barrier between ‘Roman London’ and ‘Saxon Kent.’ This, in turn, has interesting connotations regarding the current administrative divisions between Greater London and Kent.

scholarly journals ‘Tolerable Intolerance’: Protestantism, Sectarianism and Voluntary Hospitals in Late-nineteenth-century London

2018 ◽  
Vol 62 (4) ◽  
pp. 468-484 ◽  
Author(s):  
Carmen M. Mangion
Keyword(s):  
Nineteenth Century ◽  
Daily Life ◽  
Religious Practices ◽  
Late Nineteenth Century ◽  
College Hospital ◽  
Hospital Funding ◽  
The Public ◽  
Late Nineteenth ◽  
Hospital Practices ◽  
Hospital Wards

This article interrogates the complicated understanding of sectarianism in institutional cultures in late-nineteenth-century England through an examination of the practice of religion in the daily life of hospital wards in voluntary hospitals. Voluntary hospitals prided themselves on their identity as philanthropic institutions free from sectarian practices. The public accusation of sectarianism against University College Hospital triggered a series of responses that suggests that hospital practices reflected and reinforced an acceptable degree of ‘tolerable intolerance’. The debates this incident prompted help us to interrogate the meaning of sectarianism in late nineteenth-century England. How was sectarianism understood? Why was it so important for voluntary institutions to appear free from sectarian influences? How did the responses to claims of sectarian attitudes influence the actions of the male governors, administrators and medical staff of voluntary hospitals? The contradictory meanings of sectarianism are examined in three interrelated themes: the patient, daily life on the wards and hospital funding. The broader debates that arose from the threat of ‘sectarianism in hospital’ uncovers the extent to which religious practices were ingrained in hospital spaces throughout England and remained so long afterwards. Despite the increasing medicalisation and secularisation of hospital spaces, religious practices and symbols were embedded in the daily life of voluntary hospitals.

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