scholarly journals Verskyningsvorme van estetisisme en dekadensie in Sy kom met die sekelmaan en Kaapse rekwisiete

Literator ◽  
1995 ◽  
Vol 16 (1) ◽  
pp. 51-66
Author(s):  
M. Grobbelaar
Keyword(s):  
Nineteenth Century ◽  
Point Of View ◽  
The Self ◽  
Female Character ◽  
Late Nineteenth Century ◽  
Heterosexual Relationships ◽  
Feminist Literature ◽  
Male Characters ◽  
Late Nineteenth ◽  
New Perspective

Manifestations of aestheticism and decadence in Sy kom met die sekelmaan and Kaapse rekwisieteThis article offers a new perspective on the novels of two well-known Afrikaans authors, namely Hettie Smit's Sy kom met die sekelmaan (1937) and Wilma Stockenstrom's Kaapse rekwisiete (1987). Both literary works are read within the framework of late nineteenth-century Western European and British aestheticism and decadence. Characteristic elements of aesthetic and decadent literature, such as an emphasis on artificiality - especially the tendency towards the fictionalization of reality narcissism, sexual perversity, and the utilization of a flowery style are identified in both novels. Stockenstrum 's novel can, however, also be read from a feminist point of view, as is already indicated by the fact that everything is seen through the eyes d f a female character, and by the negative projection of male characters and heterosexual relationships. Lefebvre's Jungian-based search for the Self is a further indication of the feminist character of this novel, as the psychological views of Jung with his accent on identity and individualisation form a myth in its own way in feminist literature.

The Claims of Kinship: Humanitarian Ideals at the Century’s End

2018 ◽  
Author(s):  
John Stokes
Keyword(s):  
Nineteenth Century ◽  
The Self ◽  
Late Nineteenth Century ◽  
Formal Organization ◽  
Green Movement ◽  
Wide Range ◽  
Late Nineteenth

This Chapter examines the self-styled late nineteenth-century humanitarians and their formal organization, ‘The Humanitarian League’. It stresses the visionary zeal of the movement, and examines the wide range of topics discussed in the League’s two main journals, such as vegetarianism and vivisection, pointing up the tensions and paradoxes in humanitarian thinking at the time. It concludes by noting the holistic nature of the humanitarian vision and its echoes in later phenomena such as eco-criticism and the green movement.

A Geography of Medical Knowledge: Country Doctors in Elizabeth Stuart Phelps and Sarah Orne Jewett

2010 ◽  
Vol 44 (4) ◽  
pp. 691-708
Author(s):  
MARK STOREY
Keyword(s):  
Nineteenth Century ◽  
Medical Knowledge ◽  
Point Of View ◽  
Elizabeth Stuart Phelps ◽  
Late Nineteenth Century ◽  
Literary Representations ◽  
Sarah Orne Jewett ◽  
The Social ◽  
Late Nineteenth ◽  
Nineteenth Century Novels

This essay examines two of the best-known postbellum representations of country doctors, Elizabeth Stuart Phelps's Doctor Zay (1882) and Sarah Orne Jewett's A Country Doctor (1884). While they have often been considered from a feminist point of view, this essay seeks both to complement and to argue against these existing readings by bringing a specifically geo-medical framework to bear on the texts. I consider both the thematic and the generic implications of representing country doctors in the postbellum era, exploring how they reflect, refract and encode the state of medical knowledge in postbellum America. I argue that literary representations of country doctors can contribute to an understanding of postbellum medical modernization by decentring it – by, in a sense, allowing us to comprehend the course of modern medical knowledge from a place usually assumed to remain outside modernity's transformations. Whilst I do, therefore, approach both these novels from a loosely new historicist perspective, I also want to think about how the social context they were engaging with determined, constrained and embedded itself into the thematic, formal and generic makeup of the novels themselves. Ultimately, this essay not only offers fresh readings of two important late nineteenth-century novels, but makes an intervention within the wider debates about nineteenth-century medical history and geography.

scholarly journals Performing Masculinity in Johann Strauss's 'Die Fledermaus'

2021 ◽  
Author(s):  
◽  
Corrina Connor
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Social History ◽  
Historical Context ◽  
Interdisciplinary Approach ◽  
Late Nineteenth Century ◽  
Secondary Sources ◽  
Male Characters ◽  
Late Nineteenth ◽  
Die Fledermaus

<p>This thesis explores the performance and articulation of masculinity in Johann Strauss’s third operetta, Die Fledermaus. Since the operetta’s premiere at the Theater an der Wien on 5 April 1875, Die Fledermaus has become one of the most enduring works in the operetta repertory. Die Fledermaus is regularly performed in all the world’s major opera houses but, despite its popularity, there exist relatively few critical studies of this operetta, and fewer still that address the significance of gender in the piece. In this thesis I argue that as a work with an unusual number of male characters originating in later nineteenth-century Vienna — a period and place where masculinities were moulded by complex, rigid social codes and distinctions — significant new insight can be gained by approaching the work through its articulation of masculinities. The male characters in Die Fledermaus also exhibit several elements of troubled, atypical, and non-heroic forms of masculinity. The title ‘Performing Masculinities in Johann Strauss’s Die Fledermaus’ alludes to the idea that masculinity and femininity are highly mutable and individual forms of performance, conditioned by a variety of personal and societal influences.  For several decades, scholars from a variety of disciplines have examined the significance of gender in opera from many theoretical perspectives. New analyses of opera conducted under the disciplinary umbrella of feminist musicology have provided a challenging discursive illumination of the position of women in opera. More recently, interest in studying operatic masculinities has burgeoned, firstly as a response to a wider scholarly interest in critical masculinities and secondly as a recognition of the need to dissect, problematize, and even pathologize the varied manifestations of masculinity in opera. However, research investigating operatic masculinities has seldom broached the unique and specific qualities of operetta.  The primary goal of this thesis is to develop a new critical understanding of Die Fledermaus, using its depictions of masculinities to challenge generic and popular clichés about the work. An interdisciplinary approach to this project combines musical and textual analysis with cultural history and masculinity theory. My study considers a range of primary and archival sources — including historical newspapers and journals, scores and recordings of operetta, personal papers, and iconography — all of which help to illuminate cultural constructions of masculinity in late nineteenth-century Vienna, relevant to the reception of Die Fledermaus. Secondary sources from a variety of disciplines, including political and social history, medical and art history, philosophy, and literary studies, help to shape the broad historical context for the thesis, while connecting this context with the ways that Die Fledermaus articulates masculinity.  By making use of cultural products contemporary with the creation and early performances of Die Fledermaus, to make a contextual analysis of the characters’ behaviour and interactions, the thesis presents Die Fledermaus as a reflection of society; inherent in this reflection are concerns about ideal, correct, and problematic forms of masculinity. These themes are manifest in Chapter 1, which traces how the male characters contend with the conventions of manly honour and Satisfaktionsfähigkeit, two concepts critical to Viennese masculinities in the late nineteenth century. The second chapter discusses the character Orlofski, whose synthesis of Russian and Austro-German traits and types of masculinity emerges through his Langeweile and his resemblance to the Russian ‘superfluous man’ (líshniy chelovék). Chapter 3 continues the exploration of Orlofski but considers the intersection of masculinity and the travesti role, and the reception of early performers of Orlofski at the Theater an der Wien and Hofoper. The fourth chapter steps away from Vienna, turning its attention to the first performance of Die Fledermaus in London. The chapter highlights the theory that geography and culture play a crucial role in the construction of masculinities by examining the connections between Charles Hamilton Aidé’s adaptation of the operetta and the intellectual milieu of Aidé, Matthew Arnold, G. H. Lewes, and their peers. In Chapter 5, the thesis moves back to fin de siècle Vienna, when Die Fledermaus began a new life at the Hofoper, and Richard von Krafft-Ebing presented to the world in Psycopathia Sexualis his newly medicalized and pathologized view of masculinity. I suggest that viewing Die Fledermaus from the perspective of Krafft-Ebing’s texts would have given some in the Hofoper audience a new insight or justification for the behaviour of Strauss and Genée’s characters.  In sum, the thesis offers a detailed exploration of Die Fledermaus, connecting its characters’ performances or articulations of masculinity with a variety of musical, historical, and cultural contexts. The thesis illuminates new perspectives on the operatic masculinities within Die Fledermaus and contributes to the larger body of scholarship concerning masculinities in Habsburg Vienna.</p>

Directors/Directing

2018 ◽  
Author(s):  
Lawrence Switzky
Keyword(s):  
Nineteenth Century ◽  
Division Of Labor ◽  
New Technologies ◽  
Ancient Greece ◽  
The Self ◽  
Political Life ◽  
Late Nineteenth Century ◽  
Theatrical Performances ◽  
Late Nineteenth ◽  
Electric Light

Although some official has organized the acting and scenery in theatrical performances since ancient Greece, the director only emerged as a significant creative figure in the late nineteenth century. Directors introduced innovative acting methods, modernized staging through new technologies such as electric light and mechanized scenery, proposed theories about the function of the theater in social and political life, and provided unified interpretations of complex plays. As the self-designated authors of productions, directors often competed with playwrights and actors for artistic control, a tension that continues to characterize the division of labor in theaters.

Reading the Gothic and Gothic readers

Interventions ◽  
2017 ◽  
Author(s):  
Andrew Smith
Keyword(s):  
Nineteenth Century ◽  
Animal Studies ◽  
The Self ◽  
Fin De Siecle ◽  
Late Nineteenth Century ◽  
Self Reflection ◽  
Fin De Siècle ◽  
Recent Developments ◽  
Late Nineteenth ◽  
The Relationship

In ‘Reading the Gothic and Gothic Readers’ Andrew Smith outlines how recent developments in Gothic studies have provided new ways of critically reflecting upon the nineteenth century. Smith then proceeds to explore how readers and reading, as images of self-reflection, are represented in the fin de siècle Gothic. The self-reflexive nature of the late nineteenth-century Gothic demonstrates a level of political and cultural scepticism at work in the period which, Smith argues, can be applied to recent developments in animal studies as a hitherto largely overlooked critical paradigm that can be applied to the Gothic. To that end this chapter examines representations of reading, readers, and implied readers in Arthur Machen’s The Great God Pan (1894), Bram Stoker’s Dracula (1897), and Arthur Conan Doyle’s The Hound of the Baskervilles (1902), focusing on how these representations explore the relationship between the human and the non-human. An extended account of Dracula identifies ways in which these images of self-reflection relate to the presence of the inner animal and more widely the chapter argues for a way of rethinking the period within the context of animal studies via these ostensibly Gothic constructions of human and animal identities.

Kronecker, Leopold (1823–91)

2018 ◽  
Author(s):  
Ulrich Majer
Keyword(s):  
Nineteenth Century ◽  
Set Theory ◽  
Point Of View ◽  
Academic Institution ◽  
Late Nineteenth Century ◽  
Foundations Of Mathematics ◽  
Epistemological Perspective ◽  
Classical Mathematics ◽  
Late Nineteenth

Leopold Kronecker was one of the most influential German mathematicians of the late nineteenth century. He exercised a strong sociopolitical influence on the development of mathematics as an academic institution. From a philosophical point of view, his main significance lies in his anticipation of a new and rigorous epistemological perspective with regard to the foundations of mathematics: Kronecker became the father of intuitionism or constructivism, which stands in strict opposition to the methods of classical mathematics and their canonization by set theory.

scholarly journals Fleshy Stories. New Materialism and Female Suicides in Late Nineteenth-Century Finland

2018 ◽  
Vol 6 (1) ◽  
pp. 1-27
Author(s):  
Anu Salmela
Keyword(s):  
Nineteenth Century ◽  
Cultural Dimensions ◽  
New Materialism ◽  
Late Nineteenth Century ◽  
Source Type ◽  
Social Wellbeing ◽  
Social Acts ◽  
History Of ◽  
Late Nineteenth ◽  
New Perspective

In nineteenth-century western medicine suicide was a gendered phenomenon. Female suicides were linked to emotion, whereas the male ones were seen as social acts, reflecting the state of the national economy and social wellbeing. Concentrating on late nineteenth-century Finnish female suicides, this article offers a new perspective on the medical history of suicides: firstly, it utilizes an underused source type, the post-mortems of suicides, and, secondly, it develops a methodology inspired by Karen Barad’s agential realism. While recognizing the gendered and cultural dimensions of suicide, I argue that female suicides included factors even beyond the human. Hence, the article suggests that suicide was neither a human nor a discursive phenomenon but an entanglement of multiple agencies, including human and nonhuman, matter and discourse.

“Indebted to No One”

2020 ◽  
Vol 50 (3) ◽  
pp. 217-247 ◽  
Author(s):  
Ellen Abrams
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
American Mathematical Society ◽  
The United States ◽  
The Self ◽  
Late Nineteenth Century ◽  
Benjamin Franklin ◽  
Rural Identity ◽  
American Life ◽  
Late Nineteenth

In 1894, Ohio mathematician Benjamin Franklin Finkel founded The American Mathematical Monthly to engage a broader audience of mathematicians than were involved with the newly formed American Mathematical Society. Along with mathematical puzzles, articles, and discussions, the first ten volumes of the Monthly included biographies of American mathematicians who worked as teachers, writers, and broadly skilled practitioners. Although the details about each mathematician were different, their biographies often followed a similar narrative template to contemporary depictions of the self-made man. This article argues that the story of the self-made mathematician, as presented in early issues of the Monthly, helped ground mathematics in day-to-day American life while asserting ties to different forms of masculinity. Such assertions were particularly significant in the late nineteenth century when a professional mathematics community was taking shape in the United States, and its leaders were becoming increasingly focused on “modern,” abstract forms of research. By marshalling a variety of cultural tropes tied to self-making, physical labor, rural identity, and manhood, biographies in the Monthly offered a particular image of American mathematics at a time when the boundaries of the category “mathematician” were shifting, and what it meant to be an American mathematician had yet to be defined.

Ethiopian Source Material and Colonial Rule in the Nineteenth Century: The Letter to Menilek (1899) By Blatta Gäbrä Egzi'abehēr

1994 ◽  
Vol 35 (3) ◽  
pp. 493-516 ◽  
Author(s):  
Irma Taddia
Keyword(s):  
Nineteenth Century ◽  
Source Material ◽  
Point Of View ◽  
Late Nineteenth Century ◽  
Historical Period ◽  
Modern State ◽  
Colonial Rule ◽  
Literary Works ◽  
Historical Significance ◽  
Late Nineteenth

Despite his important political and literary activities, Blatta Gäbrä Egzi'-abehēr is almost unknown to scholars of Menilek's Ethiopia. This historical period is not particularly well researched, and the author stands out as one of the few Ethiopian intellectuals to have written such an important number of literary works focused on nationalistic and anti-Italian feelings. The Amharic/Ge'ez text under discussion, his letter to Menilek written in 1899, is a remarkable document from this point of view because it reveals a strong opposition to colonialism and the Italian occupation of Eritrea. This document is one of the first Ethiopian sources to testify to the growing nationalism and the growth of concepts of unity and independence. It allows us to consider more carefully the beginning of an Ethiopian secular ideology of the modern state. And such an ideology must be placed in the colonial context. The letter to Menilek raises some important questions regarding the new source material in the late nineteenth century available to historians of modern Ethiopia. A translation of the text is given as well as a comment on its historical significance.

scholarly journals Performing Masculinity in Johann Strauss's 'Die Fledermaus'

2021 ◽  
Author(s):  
◽  
Corrina Connor
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Social History ◽  
Historical Context ◽  
Interdisciplinary Approach ◽  
Late Nineteenth Century ◽  
Secondary Sources ◽  
Male Characters ◽  
Late Nineteenth ◽  
Die Fledermaus

<p>This thesis explores the performance and articulation of masculinity in Johann Strauss’s third operetta, Die Fledermaus. Since the operetta’s premiere at the Theater an der Wien on 5 April 1875, Die Fledermaus has become one of the most enduring works in the operetta repertory. Die Fledermaus is regularly performed in all the world’s major opera houses but, despite its popularity, there exist relatively few critical studies of this operetta, and fewer still that address the significance of gender in the piece. In this thesis I argue that as a work with an unusual number of male characters originating in later nineteenth-century Vienna — a period and place where masculinities were moulded by complex, rigid social codes and distinctions — significant new insight can be gained by approaching the work through its articulation of masculinities. The male characters in Die Fledermaus also exhibit several elements of troubled, atypical, and non-heroic forms of masculinity. The title ‘Performing Masculinities in Johann Strauss’s Die Fledermaus’ alludes to the idea that masculinity and femininity are highly mutable and individual forms of performance, conditioned by a variety of personal and societal influences.  For several decades, scholars from a variety of disciplines have examined the significance of gender in opera from many theoretical perspectives. New analyses of opera conducted under the disciplinary umbrella of feminist musicology have provided a challenging discursive illumination of the position of women in opera. More recently, interest in studying operatic masculinities has burgeoned, firstly as a response to a wider scholarly interest in critical masculinities and secondly as a recognition of the need to dissect, problematize, and even pathologize the varied manifestations of masculinity in opera. However, research investigating operatic masculinities has seldom broached the unique and specific qualities of operetta.  The primary goal of this thesis is to develop a new critical understanding of Die Fledermaus, using its depictions of masculinities to challenge generic and popular clichés about the work. An interdisciplinary approach to this project combines musical and textual analysis with cultural history and masculinity theory. My study considers a range of primary and archival sources — including historical newspapers and journals, scores and recordings of operetta, personal papers, and iconography — all of which help to illuminate cultural constructions of masculinity in late nineteenth-century Vienna, relevant to the reception of Die Fledermaus. Secondary sources from a variety of disciplines, including political and social history, medical and art history, philosophy, and literary studies, help to shape the broad historical context for the thesis, while connecting this context with the ways that Die Fledermaus articulates masculinity.  By making use of cultural products contemporary with the creation and early performances of Die Fledermaus, to make a contextual analysis of the characters’ behaviour and interactions, the thesis presents Die Fledermaus as a reflection of society; inherent in this reflection are concerns about ideal, correct, and problematic forms of masculinity. These themes are manifest in Chapter 1, which traces how the male characters contend with the conventions of manly honour and Satisfaktionsfähigkeit, two concepts critical to Viennese masculinities in the late nineteenth century. The second chapter discusses the character Orlofski, whose synthesis of Russian and Austro-German traits and types of masculinity emerges through his Langeweile and his resemblance to the Russian ‘superfluous man’ (líshniy chelovék). Chapter 3 continues the exploration of Orlofski but considers the intersection of masculinity and the travesti role, and the reception of early performers of Orlofski at the Theater an der Wien and Hofoper. The fourth chapter steps away from Vienna, turning its attention to the first performance of Die Fledermaus in London. The chapter highlights the theory that geography and culture play a crucial role in the construction of masculinities by examining the connections between Charles Hamilton Aidé’s adaptation of the operetta and the intellectual milieu of Aidé, Matthew Arnold, G. H. Lewes, and their peers. In Chapter 5, the thesis moves back to fin de siècle Vienna, when Die Fledermaus began a new life at the Hofoper, and Richard von Krafft-Ebing presented to the world in Psycopathia Sexualis his newly medicalized and pathologized view of masculinity. I suggest that viewing Die Fledermaus from the perspective of Krafft-Ebing’s texts would have given some in the Hofoper audience a new insight or justification for the behaviour of Strauss and Genée’s characters.  In sum, the thesis offers a detailed exploration of Die Fledermaus, connecting its characters’ performances or articulations of masculinity with a variety of musical, historical, and cultural contexts. The thesis illuminates new perspectives on the operatic masculinities within Die Fledermaus and contributes to the larger body of scholarship concerning masculinities in Habsburg Vienna.</p>

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