scholarly journals Constructing a Dual Cultural Space: Protests and Adaptations in Nineteenth Century Black American Nationalism

Caliban ◽  
2006 ◽  
pp. 235-242
Author(s):  
Tunde Adeleke
Keyword(s):  
Nineteenth Century ◽  
Black American ◽  
Cultural Space ◽  
American Nationalism

scholarly journals Presidential Address: The Empire Strikes Back: The Nineteenth-Century Origins of the Canadian Secret Service

2006 ◽  
Vol 10 (1) ◽  
pp. 3-18
Author(s):  
Gregory S. Kealey
Keyword(s):  
Nineteenth Century ◽  
Presidential Address ◽  
Secret Police ◽  
Lower Canada ◽  
Secret Service ◽  
American Nationalism ◽  
Permanent Home ◽  
History Of ◽  
New Nation ◽  
Rural Police

Abstract While the history of the RCMP security service is becoming better known, study of its nineteenth-century predecessors is just beginning. From experiments with a rural police force established in Lower Canada in the aftermath of the 1837 Rebellions, the United Provinces of Canada created two secret police forces in 1864 to protect the border from American invasion. With the end of the Civil War, these forces turned to protecting the Canadas from Fenian activities. The Dominion Police, established in 1868, provided a permanent home for the secret service. The NWMP followed in 1873. Unlike the English, whose Victorian liberalism was suspicious of political and secret police, Canadians appear to have been much more accepting of such organisations and did not challenge John A. Macdonald's creation or control of a secret police. Republicanism, whether in the guise of Quebec, Irish or American nationalism, was seen as antithetical to the new nation of Canada, and a secret police was deemed necessary to protect the nation against it.

Head

2019 ◽  
pp. 48-78
Author(s):  
Sarah Blackwood
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Black Writers ◽  
Black American ◽  
Cultural Significance ◽  
Archival Research ◽  
The North

This chapter explores the cultural significance of portraiture for nineteenth-century Black American writers. It argues that many Black writers engaged with portraiture in their texts to both question and reframe the new connections being made between portraiture and personhood. They championed the power of portraiture to assert and document a sitter’s humanity while also expressing skepticism toward the idea of portraiture as revelatory about the “deep” truths of a sitter’s personhood. Many Black writers toyed with the question of “likeness” in their texts, holding out for what Douglass called “a more perfect likeness.” This chapter makes these arguments through close readings of a series of Douglass speeches about visual culture, Harriet Jacobs’s Incidents in the Life of a Slave Girl, Hannah Crafts’s The Bondwoman’s Narrative, and Frank J. Webb’s The Garies and their Friends, as well as original archival research on runaway slave advertisements, The North Star, and mid-century newspaper practices.

“Common Joys, Sorrows, Adventures, and Struggles”: Transnational Encounters in Amy Beach's “Gaelic” Symphony

2016 ◽  
Vol 10 (2) ◽  
pp. 149-180
Author(s):  
SARAH GERK
Keyword(s):  
Nineteenth Century ◽  
New World ◽  
Cultural Practices ◽  
American Music ◽  
Historical Narrative ◽  
Upper Class ◽  
Multiple Streams ◽  
Concert Music ◽  
American Composers ◽  
American Nationalism

AbstractAmy Beach's “Gaelic” Symphony is the most prominent nineteenth-century American expression of Irishness in music. Despite the reference to another country in its title, the work has largely been interpreted via the lens of American nationalism. Its historiography reflects the immense interest in national style in nineteenth-century American music scholarship. This article initiates a discussion about nineteenth-century American composers’ engagement with the world beyond their own national borders. It explores the “Gaelic” Symphony's transnational dimensions, which engage largely with two groups: concert music composers and the Irish diaspora. Regarding the former, the article illuminates nuances of intertextuality in Beach's style. It revises the historical narrative surrounding the “Gaelic” Symphony as a response to Antonín Dvořák's “New World” Symphony, finding multiple additional models for Beach's work. The “Gaelic” Symphony is positioned instead as a representation of concert music styles that valued cosmopolitan approaches and judged composers on the skill with which they consciously blended multiple streams of influence. Regarding the latter category of the Irish, the article contextualizes the symphony within a revival of Irish cultural practices taking place in the 1890s, revealing how constructions of Irishness in the symphony reflect Gaelic revival values and respond to social tensions between Boston's Irish-American community and the city's upper class.

scholarly journals Certain Loves for Opera

2021 ◽  
Vol 154 (1) ◽  
pp. 47-68
Author(s):  
Carolyn Abbate
Keyword(s):  
Nineteenth Century ◽  
Musical Instrument ◽  
The Body ◽  
Material Objects ◽  
Cultural Space ◽  
The Senses ◽  
Global Exchange

The attraction of objects has motivated a swerve within the humanities—a move away from texts and exegesis, linguistics, and semiotics; a move toward the body, the senses, materiality, and physiology. A musical instrument, a scientific artifact, a collection of sounds, an antique postcard: yes, all these objects are expressive and sometimes aesthetically pleasing, and in being so they can be understood to embody an epistemology, with theories and realms of knowledge written into their every contour. Or they can be understood as traces of global exchange and displacement. But what if the object is not very good, not loveable at all? Crumbling, toxic paper or banal images, with no exit from a strange historical or cultural space, perhaps an uncomfortable space to which you feel averse (or at least, feel you should disdain, as beneath contempt)? Or what if the object is misdirecting? What if it is ephemeral, like sound, something that cannot be held? These questions are woven in this essay into a reflection on the forms taken by certain loves for opera, a reflection centered on some nineteenth-century material objects that relate to act 4 of Giacomo Meyerbeer’s opera Les Huguenots (1836).

Troubled Times in Yorubaland

2017 ◽  
Author(s):  
Lisa A. Lindsay
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
African American ◽  
Sierra Leone ◽  
Southern Baptist ◽  
The United States ◽  
The Other ◽  
Black American ◽  
Southwestern Nigeria

This chapter considers Vaughan’s first decade in southwestern Nigeria (1855-67) in the context of West Africa’s major developments: warfare, migration, slave trading, missionary Christianity, and colonialism. During the warfare that convulsed the region for much of the nineteenth century, thousands of captives were exported as slaves to the Americas. Others were rescued by the British Navy and landed at Sierra Leone; some of these, along with ex-slaves from Brazil and Cuba, later returned to Yorubaland. Meanwhile, missionaries from Britain and a few from the United States pushed inland. Though Vaughan had come to Yorubaland as a carpenter for American Southern Baptist missionaries, he was living separately from them when he was taken captive during the brutal Ibadan-Ijaye war. He escaped to Abeokuta, where the African American activist Martin Robeson Delany had recently tried to negotiate a settlement for black American immigrants. Vaughan and the other diasporic Africans in Yorubaland may have hoped to fulfill their dreams of freedom in the land of their ancestors, but they found something more complicated. As this chapter shows, freedom as autonomy meant vulnerability, while freedom as safety or prosperity was best achieved through subordination to strong, autocratic rulers, who profited from slavery themselves.

Introduction

2019 ◽  
pp. 3-26
Keyword(s):  
Nineteenth Century ◽  
Black American ◽  
Black Leadership ◽  
Absolute Good

To engage Martin Robison Delany (1812–1885) is to confront the complexities and paradoxes of nineteenth-century black American leadership. He embodied the utilitarianism and pragmatism that the late August Meier described as the defining attributes of nineteenth-century black leadership.1 He refused to confine his life and struggles within the Manichaean good-versus-evil framework. There was no absolute good or absolute evil in Delany’s worldview. On the contrary, in crucial historical moments and contexts, Delany acknowledged only complex contending forces and interests, each with discernible merits and demerits. By characterizing Delany as someone who could not be classified “with either the good guys or the bad guys,” Delany aficionado Victor Ullman captured his ambiguity, or what many of Delany’s contemporaries perceived as his behavioral eccentricity....

Reading laïcité

2014 ◽  
Vol 25 (3-4) ◽  
pp. 330-339
Author(s):  
Leon Sachs
Keyword(s):  
Nineteenth Century ◽  
Identity Formation ◽  
The Self ◽  
Transitional Space ◽  
Literary Reading ◽  
Cultural Space ◽  
Literary Education ◽  
Cultural Experiences ◽  
Literary Experience ◽  
The Way

Beginning with the observation that in recent years laïcité has taken on connotations that its nineteenth-century republican proponents would not have foreseen, this article reflects on the way laïcité’s evolving meaning bears on questions of literary experience and literary education. It argues that there are important structural similarities between recent theories of laïcité and theories of literary reading, both of which rely on similar conceptions of intellectual and cultural space and the kinds of identity formation that occur there. The first half of the article builds on arguments by political philosophers Marcel Gauchet and Catherine Kintzler, who assert that aesthetic and cultural experiences enact the psychic phenomena of self-distancing inherent in laïcité. From there, the article goes on to suggest linkages between this view of laical distanciation and the process of individuation outlined in D. W. Winnicott’s concept of transitional space, an influential concept for reader-oriented critics seeking to explain literary experience as an act of ‘getting out of the self’.

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