scholarly journals A Cultural Studies Perspective on the Development of Standard Slovenian

2015 ◽  
Vol 17 (1) ◽  
Author(s):  
Majda Merše
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Cultural Studies ◽  
The Past ◽  
Linguistic System ◽  
Linguistic History ◽  
Text Types ◽  
The Many

Martina Orožen’s volume Kulturološki pogled na razvoj slovenskega knjižnega jezika (A Cultural Studies Perspective on the Development of Standard Slovenian) reveals a new multilayered perspective on Slovenian linguistic history, especially on the period from the mid-sixteenth century to the mid-nineteenth century. It focuses on a developmental account of innovation, revealed through a multilevel examination of the linguistic system, and on presenting articulatory creativity, developmentally checked with various text types. The work is also richly informative due to the many informed judgments, explanatory substantive amplifications, and added insights into the past.

“Big History” Old and New: Presuppositions, Limits, Alternatives

2015 ◽  
Vol 9 (2) ◽  
pp. 306-326 ◽  
Author(s):  
Allan Megill
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Large Scale ◽  
Innovative Approach ◽  
Human History ◽  
Comparative History ◽  
Historical Knowledge ◽  
The Past ◽  
History Of ◽  
Big History

In recent years David Christian and others have promoted “Big History” as an innovative approach to the study of the past. The present paper juxtaposes to Big History an old Big History, namely, the tradition of “universal history” that flourished in Europe from the mid-sixteenth century until well into the nineteenth century. The claim to universality of works in that tradition depended on the assumed truth of Christianity, a fact that was fully acknowledged by the tradition’s adherents. The claim of the new Big History to universality likewise depends on prior assumptions. Simply stated, in its various manifestations the “new” Big History is rooted either in a continuing theology, or in a form of materialism that is assumed to be determinative of human history, or in a somewhat contradictory amalgam of the two. The present paper suggests that “largest-scale history” as exemplified in the old and new Big Histories is less a contribution to historical knowledge than it is a narrativization of one or another worldview. Distinguishing between largest-scale history and history that is “merely” large-scale, the paper also suggests that a better approach to meeting the desire for large scale in historical writing is through more modest endeavors, such as large-scale comparative history, network and exchange history, thematic history, and history of modernization.

IN PRAISE OF THEORETICAL NOISE

1999 ◽  
Vol 27 (2) ◽  
pp. 473-476 ◽  
Author(s):  
David Glover
Keyword(s):  
Cultural Studies ◽  
British Empire ◽  
Historical Record ◽  
Victorian Studies ◽  
The Past ◽  
Precise Relationship ◽  
The Many ◽  
Carolyn Steedman

ALTHOUGH IT IS NOW COMMONPLACE to find cultural studies invoked as one of the tributaries of Victorian studies — and the rubric for this journal is no exception — the precise relationship between these two interdiciplinary fields is still unsettled and seems likely to remain so. This is not, as is sometimes claimed, because cultural studies has felt able to dispense with the past, preferring to dwell in and upon the postmodernized present: to the contrary, some of the finest work currently linked to cultural studies has shown a keen awareness of the bankruptcy of contemporary posthistoire, insisting instead upon the continuing need to interrogate the historical record, to reexamine what was at stake both in the longues durées of culturally sedimented time and in the flashpoints and crises of yesteryear. Catherine Hall’s engagement with the changing configuration of “race” in the debates about the British empire between 1830 and 1870 has been exemplary in this regard, but she is far from being the only relevant exception that one might cite — Carolyn Steedman and Richard Johnson are among the many other names that immediately come to mind.

Echoes of the Guillotine: Berlioz and the French Fantastic

2010 ◽  
Vol 34 (2) ◽  
pp. 168-185
Author(s):  
Marianna Ritchey
Keyword(s):  
Nineteenth Century ◽  
Narrative Theory ◽  
Literary Genre ◽  
Important Contributor ◽  
Political Beliefs ◽  
The Past ◽  
Nineteenth Century France ◽  
The Subject ◽  
The Fantastic ◽  
The Many

Abstract The fantastic, theorized as an expression of the anxieties, fears, and political beliefs of the generation of young French writers born in the decades directly following the Revolution and Terror, has long been viewed primarily as a literary genre. Observed in light of this artistic movement, Berlioz's most famous work, Symphonie fantastique, emerges as a musical manifestation of fantastic techniques, and Berlioz himself as an important contributor to the Fantastic culture that swept nineteenth-century France. Using Tzvetan Todorov's narrative theory, I identify two techniques fantastic authors exploit that are most useful in understanding Symphonie Fantastique: an intentional ambiguity of form, and a privileging of ambiguous ““thresholds”” over teleological plot resolution. In pursuing a new explanation of the symphony's strange deviations from musical norms, I highlight the many different ways the symphony has been understood and analyzed by prominent musicologists over the past 180 years. By now, musicologists have effectively demonstrated that Berlioz was not the ““incompetent genius”” (in Charles Rosen's wry formulation) he was long considered to be; however, the fact that there is still disagreement and debate over Symphonie Fantastique's deviations from normative form and content, as well as what those deviations might mean, demonstrates the highly fraught signifying structure of the music. Locating the symphony's use of fantastic tropes and techniques demonstrates that many of its strangest aspects——those ““failures”” that have been the subject of musicological debate since 1835——come into focus when we take its title seriously and regard the work as a symphony in the fantastic genre.

Gazing on the Past (and Being Photobombed by Children)

2018 ◽  
Author(s):  
Sally Crawford ◽  
Katharina Ulmschneider
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Glass Plate ◽  
Recent Analysis ◽  
Late Nineteenth Century ◽  
Archaeological Record ◽  
The Past ◽  
Late Nineteenth ◽  
The Many ◽  
Insight Into

Archaeologists often ignore the presence of children as a contributing factor in the archaeological record. However, recent analysis of a number of glass plate and film photographs taken by archaeologists at the end of the nineteenth century and the first half of the twentieth century shows that children were often incorporated into the photograph, either deliberately or inadvertently. These images provide not just a record of ancient sites and monuments, but also of the many local children who appear in the photographs. The children recorded by archaeologists offer an insight into children, their childhoods, their freedoms, and their place in society across a range of cultures in the late nineteenth century and early twentieth century, as well as raising questions about how archaeologists ‘saw’ the human subject in photographs where monuments and sites were the object.

Thirty years’ work in Irish history (I)

1967 ◽  
Vol 15 (60) ◽  
pp. 359-365
Author(s):  
J. Otway-Ruthven
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Irish History ◽  
The Past ◽  
Norman Invasion

With this issue of Irish Historical Studies we complete our thirtieth year of publication. Among other ways of marking the occasion, as announced in our last issue, a series of survey-articles has been planned, assessing the contribution of the past thirty years to the historiography of Ireland. Three of these articles appear below. The series is to be completed in five further articles dealing with Ireland before the Norman invasion, sixteenth-century Ireland (1485–1603), nineteenth-century Ireland (1800–1914), Ireland since 1914, and, finally, Irish history generally.

The ‘Taste for Tudors’ since 1940

1960 ◽  
Vol 7 ◽  
pp. 167-183
Author(s):  
Lacey Baldwin Smith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
Welfare State ◽  
The Past ◽  
Military Security ◽  
The Welfare State

Professor F. J. Fisher wrote in 1940 that the twentieth century has been ‘busily recreating the sixteenth century in its own image’. Historical re-evaluation is always in part narcissistic. Two world wars have left their scars on our view of history and, if nothing else, have given us insights into the Tudor age which, like our own, faced ideological wars of survival. The quest for economic and military security and the dream of the welfare state have led the twentieth century to forsake not only the ethical and institutional standards of the nineteenth century but also to deny its interpretation of history. The ancient shibboleths, the familiar landmarks of Tudor history, and the comfortable generalizations about despotism, mercantilism, and ‘new monarchy’ are all being swept aside by a generation of historians who claim greater understanding of the past.

The Age of Uncertainty: Britain in the Early-Nineteenth Century

1998 ◽  
Vol 8 ◽  
pp. 91-115 ◽  
Author(s):  
David Eastwood
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Print Culture ◽  
Early Nineteenth Century ◽  
The Past ◽  
The Reformation ◽  
Age Of Exploration ◽  
Historical Periods ◽  
Ideological Assumptions

One does not have to be a card-carrying postmodernist to understand that historical periods do not possess inherent characteristics. ‘Eras of Reform’, ‘Ages of Revolution’, ‘Triumphs of Reform’, and ‘Centuries of Reformation’ exist only in, and as, texts. They represent, in the simplest of forms, readings of the past. The nomenclatures we employ to demarcate and characterise particular historical moments embody fundamental ideological assumptions, encapsulating an idée fixe, and exposing the crux of the creative—or, if you prefer, the scholarly—process. Traditionalists might already be crying foul, insisting that our titles, or period characterisations, reflect rather than impute salience. History, as Geoffrey Elton might have instructed us, reports rather than constructs the past. The writing of history, Elton suggested in 1967, ‘amounts to a dialogue between the historian and his materials. He supplies the intelligence and the organising ability, but he can interpret and organise only within the limits set by his materials. And those are the limits created by a true and independent past.’ Revealingly, though, our book titles generally describe or construct processes, rather than recall events; and processes are abstractions whose full meaning, as Vico told us long ago, is apparent only in retrospect. Of course the Reformation happened, but not in the same way as the Battle of Trafalgar happened. Thus describing the sixteenth century as ‘The Age of Reformation’ orders the experience of the European West in a very particular way. It was also, and some might say equally, an age of exploration, of empire, of inflation, of hunger, and of the explosion of print culture.

Hucbald’s Fifths and Vaughan Williams’s Mass

2020 ◽  
pp. 326-339
Author(s):  
Deborah Heckert
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
New Music ◽  
Very Old ◽  
The Past ◽  
Historical Images ◽  
Mass In G ◽  
Changing Attitudes

In a Musical Times review of a 1923 performance of Vaughan Williams’s Mass in G minor in Birmingham, H. C. Colles made the comment that “there hasn’t been so many parallel fifths since Hucbald.” This is just one blatant medievalist moment in a review that firmly places the Mass within a tangled web of historical images and associations. Colles’s description of the Mass evokes historicism by utilizing imagery related to the medieval cathedral and drawing on the well-rehearsed sixteenth-century/Tudor tropes prevalent during these years. More interestingly, Colles also identifies an inherent anti–nineteenth century, antiromantic sentiment underpinning the Mass, underlining his view that this work was something both very new and very old and not a throwback to a Victorian neo-Gothicism. Using Vaughan Williams’s Mass and its reception as a case study, this chapter explores the new musical medievalism current during the first decades of the twentieth century to outline changing attitudes toward the music of the past. This chapter argues that the cosmopolitan nature of Victorian medievalism was transformed into an aesthetic that worked both with nationalist agendas and with modernist ideologies in a manner that ultimately created a connection between “old” and “new” music and disenfranchised romantic, nineteenth-century forbears.

Law and Nationalism in Nineteenth-Century Europe: The Case of Catalonia in Comparative Perspective

2002 ◽  
Vol 20 (2) ◽  
pp. 307-347 ◽  
Author(s):  
Stephen Jacobson
Keyword(s):  
Nineteenth Century ◽  
Daily Lives ◽  
Political Issues ◽  
The Past ◽  
Depth Analysis ◽  
Penal Law ◽  
Major Break ◽  
History Of ◽  
The Many ◽  
The Relationship

By the close of the nineteenth century, most continental Europeans tacitly accepted, if they thought about it at all, the notion that a civil code governed multiple personal and familial relationships in their daily lives. Like so many legislative structures, intellectual suppositions, and cultural artifacts, what was once regarded as a novel or even a major break with the past came to be understood as one of the many requisites of modernity. Contemporary historians have adopted a similarly indifferent posture, their curiosity only piqued when encountering specific provisions entangled with other political issues. In a strikingly dissimilar approach to that adopted toward penal law, they have been disinclined to explore the relationship between civil legal endeavor and political culture or the history of ideas. Only with respect to Germany have scholars considered these topics worthy of in-depth analysis; in so doing, they have demonstrated that understanding juridical culture is fundamental to appreciating the textures and peculiarities of the liberal nation state.

Negotiating Sanctity: Holy Women in Sixteenth-Century Spain

1995 ◽  
Vol 64 (3) ◽  
pp. 373-388 ◽  
Author(s):  
Gillian T. W. Ahlgren
Keyword(s):  
Sixteenth Century ◽  
Religious Leaders ◽  
Council Of Trent ◽  
Men And Women ◽  
Religious Reform ◽  
Spanish Inquisition ◽  
The Past ◽  
Counter Reformation ◽  
The Many ◽  
Religious Landscape

The past ten years have seen great strides in our understanding of the many forces at work in Counter-Reformation Spain. Historians and hispanists have demonstrated clearly that the Spanish religious landscape was complex and have elucidated several problems of interpretation. How readily did Spanish monarchs, religious leaders, and laity follow the decrees of the Council of Trent? How influential was the Spanish Inquisition in enforcing religious beliefs and behaviors? In what ways did religious reform involve assumptions about gender and differing religious roles for men and women? Finally, and more to my point, how did men and women respond to such assumptions and roles?

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