scholarly journals William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love

2009 ◽  
Vol 42 (1-2) ◽  
pp. 3-34
Author(s):  
Mirko Jurak
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
William Shakespeare ◽  
Final Part ◽  
Passion Play ◽  
The World ◽  
Theatrical Performances ◽  
Essay On Man ◽  
The Impact

One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Dissent and Education

2018 ◽  
Author(s):  
Mark Burden
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Educational Activity ◽  
Educational Institutions ◽  
Higher Educational Institutions ◽  
Legal Restrictions ◽  
Higher Educational ◽  
Set Up ◽  
The Impact ◽  
Dissenting Academies

Much eighteenth-century Dissenting educational activity was built on an older tradition of Puritan endeavour. In the middle of the seventeenth century, the godly had seen education as an important tool in spreading their ideas but, in the aftermath of the Restoration, had found themselves increasingly excluded from universities and schools. Consequently, Dissenters began to develop their own higher educational institutions (in the shape of Dissenting academies) and also began to set up their own schools. While the enforcement of some of the legal restrictions that made it difficult for Dissenting institutions diminished across the eighteenth century, the restrictions did not disappear entirely. While there has been considerable focus on Dissenting academies and their contribution to debates about doctrinal orthodoxy, the impact of Dissenting schools was also considerable.

Tracing the Impact of Krishnalila Narratives on Bengal Temple Architecture: A Study of Terracotta Temples of Baranagar

2018 ◽  
Vol 3 (1) ◽  
pp. 49-70
Author(s):  
Bikas Karmakar ◽  
Ila Gupta
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
West Bengal ◽  
Local People ◽  
Visual Data ◽  
Literary Sources ◽  
The Impact

The Krishnalila narratives have an indelible impact on the architectural imaginations and designs of artisans of Bengal from seventeenth to nineteenth century. The article attempts to identify such portrayals on the front facades of the Baranagar temples of eighteenth century in Murshidabad, West Bengal. It explores the specific reasons for their inclusion and the changing nature of narratives and iconography under the varying impact of Krishna cult. It relies on literary sources, on site interviews with the priest, temple caretaker and local people and visual data collected during field visits. While romance was the primary theme of the seventeenth century temples, the eighteenth century Baranagar temples saw a diversification of themes to include heroic exploits of Krishna; portrayal of other deities attracted the devotees of Vaishnava, Shaiva and Shakta sects. Such depictions while revealing the secular nature of the chief patron also acted as a tool for legitimization of her authority.

Sovereignty in a Minor Key

2021 ◽  
Vol 33 (1) ◽  
pp. 41-61
Author(s):  
Thomas Blom Hansen
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Indian Ocean ◽  
Western Europe ◽  
Nation State ◽  
The World ◽  
The Indian Ocean ◽  
Theories Of Sovereignty ◽  
A Minor ◽  
State Form

Abstract Theories of sovereignty in the twentieth century are generally based on a teleological “out-of-Europe” narrative where the modern, centralized nation-state form gradually spread across the world to be the foundation of the international order. In this article, the author reflects on how the conceptualization of sovereignty may change if one begins a global account of modern sovereignty not from the heart of Western Europe but from the complex arrangements of “distributed sovereignty” that emerged in the Indian Ocean and other colonized territories from the eighteenth century onward. These arrangements were organized as multiple layers of dependency and provisional domination, captured well by Eric Beverley's term minor sovereignty. Thinking through sovereignty in a minor key allows us to see sovereignty less as a foundation of states and societies and more as a performative category, emerging in a dialectic between promises of order, prosperity, and law, and the realities of violent domination and occupation.

Anonymous Renovators of Icons

2018 ◽  
pp. 153-191
Author(s):  
Karin Vélez
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Case Studies ◽  
Public Image ◽  
The World ◽  
Roman Painting

This chapter begins by examining how two peripheral artworks of the Virgin of Loreto, the eighteenth-century wooden statue from the Moxos missions and the seventeenth-century Roman painting by Caravaggio, each tapped into outside streams of Marian art. The same impetus for transformation is observed for the original icon of the Madonna of Loreto at the Italian shrine. Updates to this icon were spurred by an awareness of the world outside Loreto. The chapter concludes with a return to the frontier, to Canada, to consider some significantly named but lesser known Huron women converts who contributed to Mary's global public image. Overall, these case studies of modifications to the Virgin of Loreto reflect what mattered to people on both sides of the Atlantic about Mary at this time: she was alien, yet she was accessible; she moved, and she could also be moved.

Culture

2018 ◽  
Author(s):  
Anthony O’Hear
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Relativism ◽  
World City ◽  
Human Culture ◽  
The World ◽  
Low Culture ◽  
Secular Religion ◽  
Explanatory Concept ◽  
Universal Scale

Culture comprises those aspects of human activity which are socially rather than genetically transmitted. Each social group is characterized by its own culture, which informs the thought and activity of its members in myriad ways, perceptible and imperceptible. The notion of culture, as an explanatory concept, gained prominence at the end of the eighteenth century, as a reaction against the Enlightenment’s belief in the unity of mankind and universal progress. According to J.G. Herder, each culture is different and has its own systems of meaning and value, and cannot be ranked on any universal scale. Followers of Herder, such as Nietzsche and Spengler, stressed the organic nature of culture and praised cultural particularity against what Spengler called civilization, the world city in which cultural distinctions are eroded. It is difficult, however, to see how Herder and his followers avoid an ultimately self-defeating cultural relativism; the task of those who understand the significance of human culture is to make sense of it without sealing cultures off from one another and making interplay between them impossible. Over and above the anthropological sense of culture, there is also the sense of culture as that through which a people’s highest spiritual and artistic aspirations are articulated. Culture in this sense has been seen by Matthew Arnold and others as a substitute for religion, or as a kind of secular religion. While culture in this sense can certainly inveigh against materialism, it is less clear that it can do this effectively without a basis in religion. Nor is it clear that a rigid distinction between high and low culture is desirable. It is, in fact, only the artistic modernists of the twentieth century who have articulated such a distinction in their work, to the detriment of the high and the low culture of our time.

Buy national campaigns: Patriotic shopping and the capitalist nation state

2020 ◽  
Vol 18 (1) ◽  
pp. 79-95
Author(s):  
Oliver Kühschelm
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Interest Groups ◽  
Physical Violence ◽  
Business Groups ◽  
Nation State ◽  
Short Term ◽  
The World ◽  
Promotional Campaign ◽  
National Campaigns

Since the eighteenth century, but with increased dynamism in the twentieth century, calls on consumers to buy national products have proliferated all around the world. This article discusses which historical constellations have given rise to the demand for patriotic shopping. Each case raises the question whether the demand was voiced within the framework of a broad national movement with political, cultural, and economic goals or was rather a case of business interest groups attempting to increase sales. These are not mutually exclusive alternatives: calls to buy national have often entailed an element of both. However, some have more the character of a movement beyond the immediate control of business groups, while others are just a promotional campaign. All in all, the demand for nationally minded consumption has mostly sought to establish business as deserving the solidarity of citizens. It has also displayed a patriarchal and authoritarian bent. But have such exhortations produced the desired effect? It is doubtful that any buy national campaign or movement has fundamentally changed the shopping patterns of consumers, at least if we discount physical violence and short-term success. Yet the call for patriotic consumption has often prepared the discursive ground for protectionist measures. As an effort to promote consent, they have tied into the hegemonic project of the capitalist nation state.

The Romantic Grotesque of George Gordon Byron

Tekstualia ◽  
2019 ◽  
Vol 4 (59) ◽  
pp. 27-40
Author(s):  
Mirosława Modrzewska
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Literary Tradition ◽  
Don Juan ◽  
Miguel De Cervantes ◽  
Critical Tradition ◽  
The World ◽  
Poetic Style ◽  
The Grotesque

The article explores the affi nities between Byron’s works with the seventeenth-century literary tradition of carnivalesque discourse. These affi nities can be traced in his comical burlesque writings, such as The Devil’s Drive (1813), Beppo (1818), The Vision of Judgement (1822) and Don Juan (1819–1824). There is a well-established British critical tradition which sees the author of Don Juan as a continuator of Alexander Pope’s eighteenth-century mock-heroic convention, but his use of the grotesque mode makes him the heir of Miguel de Cervantes or Francisco Quevedo. Byron’s literary identifi cation with the poetic style of the seventeenth-century baroque can be detected in his predilection for a comical deformation of characters, images and meanings. The poet uses the language of monstrosity and transgression to achieve political and religious provocation and to lure his reader into the world of a liberated language, freed from conventional connotations.

Emerson and Whitehead

PMLA ◽  
1960 ◽  
Vol 75 (5) ◽  
pp. 577-582
Author(s):  
Harry Modean Campbell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
Philosophy Of Religion ◽  
Logical Consequence ◽  
Logical Analysis ◽  
The Other ◽  
Age Of Enlightenment

In his discerning book entitled Emerson's Angle of Vision, Sherman Paul has pointed out two fundamental ways in which Whitehead, in spite of some obvious differences, is like Emerson. Both Emerson and Whitehead, says Paul, exalted the moral, ethical, and imaginative science of the seventeenth century over the analytical rationalism of the eighteenth century, and, as a logical consequence of this emphasis, both condemned Lockean sensationalism in the same way. Following Professor Paul's suggestion, the purpose of this study is to explore in some detail the basic views of Emerson and Whitehead about religion—man's relation to Nature and God. The remarkable similarities between the views of Emerson and those of Whitehead on this subject may not indicate much, if any, indebtedness of the twentieth-century philosopher to his nineteenth-century predecessor, but if these parallels are extensive and important enough, they may well indicate that Whitehead's total achievement in the philosophy of religion is like that of Emerson—that, religiously, Whitehead may be said to be a kind of twentieth-century Emerson, in one important way, as may appear, more of a transcendentalist than Emerson. Indeed, though the obscurity of his style will prevent him from being as popular as his predecessor, Whitehead's influence as a leader in the religious revolt against the “philosophy of logical analysis” and the other philosophies that make ours an “age of analysis” may in time be as great as that of Emerson in the similar romantic-transcendentalist revolt against the analytical rationalism of the age of “Enlightenment.” More of this later, but first let us examine the evidence.

scholarly journals EDITORIAL

2008 ◽  
Vol 5 (2) ◽  
pp. 163-164
Author(s):  
JOHN BUTT
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
Human Condition ◽  
Musical Traditions ◽  
The Human Condition

I clearly remember that when this journal was first devised there lay some niggling doubt behind my tremendous enthusiasm for this timely initiative. Wasn’t there something problematic about viewing the eighteenth century as a whole? Did I intuit some sort of fundamental divide, perhaps somewhere between the deaths of J. S. Bach and Handel, one that somehow cast this century into two irreconcilable worlds? The seventeenth century was perhaps enough of a mess for its disunity to become a historiographical topic in its own right, its separate threads providing at least some narrative potential, even if these could never convincingly be drawn into a single whole. And the nineteenth century was perhaps sufficiently punctuated with various revolutions and restorations, together with an overriding story of industrial progress, to fall into a coherent (if divisive) family of narratives. Even the twentieth century – that which surely saw the largest number of changes in the human condition and the exponential pluralizing of ‘legitimate’ musical traditions – seems to have a clear enough trajectory, much of the music at its end having a discernible genealogical connection with that of its beginning. So what was it that was worrying me about the eighteenth century?

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