scholarly journals First Lithuanian Museum – Baublys in Dionizas Poška’s Garden

2021 ◽  
Vol 27 ◽  
pp. 117-130
Author(s):  
Deima Katinaitė
Keyword(s):  
Nineteenth Century ◽  
Conceptual Metaphor ◽  
Mikhail Bakhtin ◽  
Research Question ◽  
The Novel ◽  
Personal Memory ◽  
The Past ◽  
Oak Tree ◽  
And Performance ◽  
Scholarly Attention

This article discusses Baublys – a nineteenth-century garden pavilion in Lithuania, Samogitia, established in the trunk of an oak tree by Lithuanian boyar and writer Dionizas Poška. Because of its ambiguity, Baublys has attracted considerable scholarly attention and, for the same reason, remains forgotten, generating a relatively small number of texts. Although interpretations vary, the place of Baublys in Lithuanian culture is still unclear. What is it? Is it a regional curiosity or a proto-museum? This article looks at Baublys through its function and aims at demonstrating that Baublys is not only a proto-museum, but also a prototype of today’s interactive museum, containing the analogues of modern practices of museology: interactivity, communicational features and performativity. My methodology is constructed invoking the conceptual metaphor of the mask and referring to the theories of Hans Belting and Mikhail Bakhtin. According to the Bakhtinian dialogic imagination and literary concepts of the epic and the novel, the analogy of the mask and the monument is used. The research question is what Baublys does as a mask during Poška’s lifetime and what it does as a monument today. How did its semantics and agency change after “becoming” a monument? The article shows that for Poška Baublys is a theatre of historical and personal memory, activated by structure, a set of finds, analogues (Sibile Temple, other garden pavilions) and performance. An empty Baublys is a monument – a reference to the past, which lacks the collection of the museum – Poška’s finds. Baublys is not only a museum, but might be perceived as a monument to museums, even a monument to the idea of a museum.

scholarly journals Religion of the past or living heritage?

2020 ◽  
Vol 27 (3) ◽  
pp. 152-168
Author(s):  
Tiina Aikas
Keyword(s):  
Nineteenth Century ◽  
Knowledge Production ◽  
Research Question ◽  
Local Population ◽  
The Past ◽  
Museum Displays ◽  
History Of ◽  
Dissemination Of Results

In recent years we have witnessed a growing contemporary use of Sámi offering places by various actors, for example tourists, the local population and contemporary pagans. Hence, sites that the heritage authorities and researchers have seen as belonging to the past have gained new relevance. Nevertheless, Sámi religion is often presented in museums in relation to history and prehistory. Sámi culture has been presented in museums and exhibitions since the nineteenth century. In pointing out that this long history of museum displays affects how Sámi culture is presented in contemporary museums, Nika Potinkara (2015:41) suggests that we can renew, comment on or question the old presentations. This article explores the representations of Sámi religion in four museums and exhibitions in Northern Finland, and will answer the following research question: How is Sámi religion presented and what kind of themes are present? Here museums are studied as arenas for the dissemination of results of knowledge production. What kind of image of Sámi religion do they share?    

Nation and Generation in A Tale of Two Cities

PMLA ◽  
1978 ◽  
Vol 93 (3) ◽  
pp. 448-462 ◽  
Author(s):  
Albert D. Hutter
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
The Novel ◽  
Generational Conflict ◽  
The Past ◽  
Two Cities ◽  
Critical Model ◽  
The Individual ◽  
Critical Methods ◽  
The French Revolution

A Tale of Two Cities, the French Revolution becomes a metaphor for the conflicts between generations and between classes that preoccupied Dickens throughout his career. Dickens uses a double plot and divided characters to express these conflicts; his exaggerated use of “splitting”—which the essay defines psychoanalytically—sometimes makes A Tale of Two Cities‘ language and structure appear strained and humorless. We need to locate A Tale of Two Cities within a framework of nineteenth-century attitudes toward revolution and generational conflict by using a combination of critical methods—literary, historical, psychoanalytic. This essay relates the reader's experience to the structure of the text; and it derives from Dickens’ language, characterization, and construction a critical model that describes the individual reader's experience while explaining some of the contradictory assessments of the novel over the past hundred years.

scholarly journals The Difficulty of Historical Work in the Nineteenth-Century Museum and the Thackeray Novel

2012 ◽  
Vol 67 (1) ◽  
pp. 29-57 ◽  
Author(s):  
Dehn Gilmore
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Historical Novel ◽  
The Novel ◽  
Costs And Benefits ◽  
The Past ◽  
Important Impact ◽  
Full Reconstruction ◽  
History Of ◽  
The Times

This essay suggests that conservation debates occasioned by the democratization of the nineteenth-century museum had an important impact on William Makepeace Thackeray’s reimagination of the historical novel. Both the museum and the historical novel had traditionally made it their mission to present the past to an ever-widening public, and thus necessarily to preserve it. But in the middle of the nineteenth century, the museum and the novel also shared the experience of seeming to endanger precisely what they sought to protect, and as they tried to choose how aggressive to be in their conserving measures, they had to deliberate about the costs and benefits of going after the full reconstruction (the novel) or restoration (the museum) of what once had been. The first part of this essay shows how people fretted about the relation of conservation, destruction, and national identity at the museum, in The Times and in special Parliamentary sessions alike; the second part of the essay traces how Thackeray drew on the resulting debates in novels including The Newcomes (1853–55) and The History of Henry Esmond (1852), as he looked for a way to revivify the historical novel after it had gone out of fashion. He invoked broken statues and badly restored pictures as he navigated his own worries that he might be doing history all wrong, and damaging its shape in the process.

Reading the Historical Novel: Reworking the Past and the Relation of Blackfeet History in James Welch's Fools Crow

2009 ◽  
Vol 43 (1) ◽  
pp. 89-100
Author(s):  
SARAH MARTIN
Keyword(s):  
Nineteenth Century ◽  
Native American ◽  
Native Americans ◽  
Historical Novel ◽  
The Political ◽  
Historical Novels ◽  
The Novel ◽  
James Welch ◽  
The Past ◽  
Political Impact

The article considers the political impact of the historical novel by examining an example of the genre by Native American novelist James Welch. It discusses how the novel Fools Crow represents nineteenth-century Blackfeet experience, emphasizing how (retelling) the past can act in the present. To do this it engages with psychoanalytic readings of historical novels and the work of Foucault and Benjamin on memory and history. The article concludes by using Bhabha's notion of the “projective past” to understand the political strength of the novel's retelling of the story of a massacre of Native Americans.

The Chartists and the Constitution: Revisiting British Popular Constitutionalism

2017 ◽  
Vol 56 (1) ◽  
pp. 70-90 ◽  
Author(s):  
Josh Gibson
Keyword(s):  
Nineteenth Century ◽  
Natural Law ◽  
Political Development ◽  
Common Law ◽  
The Past ◽  
The Common ◽  
Fundamental Law ◽  
English Law ◽  
Scholarly Attention ◽  
Popular Constitutionalism

AbstractDespite having a powerful influence on the historiography of radicalism and nineteenth-century politics for the past several decades, the language of the constitution has not recently received scholarly attention. In Chartist and radical historiography, the constitution is usually treated as a narrative of national political development. This article extends the horizons of Chartist constitutionalism by exploring its similarities with American constitutionalism. By doing so, it also opens up questions regarding the ideas of the movement. Like the Americans sixty years before, the Chartists were confronted by a parliament that they believed had superseded its constitutional authority. This perception was informed by a belief that the constitution rested on the authority of the fixed principles of fundamental law, which they argued placed limits beyond which Parliament had no power to reach. As a result, the Chartists imagined that the British constitution functioned like a written constitution. To support this claim, they drew on a sophisticated interpretation of English law that argued that the common law was closely related to natural law.

scholarly journals Memory and History: A Comparison of the Past in Slovak Prose of the Post-2000 Period

Porównania ◽  
2021 ◽  
Vol 27 (2) ◽  
pp. 77-99
Author(s):  
Vladimír Barborík
Keyword(s):  
Historical Memory ◽  
Personal History ◽  
The Novel ◽  
Personal Memory ◽  
Autobiographical Writing ◽  
The Past ◽  
Basic Approaches ◽  
New Millennium

This study focuses on how two kinds of memory: historical and personal are reflected in a section of Slovak literature of the past two decades. A variety of autobiographical genres and biographically-stylised fictional prose draw on personal memory, and history, is the domain of historical genres, particularly the novel. After the 1990s, the present was deemed important and historical presentations of the past were parodiedin the prose of Peter Pišťanek and Igor Otčenáš. At the beginning of the new millennium, however, prose portraying and reflecting on the past reappeared. Memory- based writing which is concerned with an individual situated within history, or outside of it, is more persuasive. Memory-based writing is used in different forms of autobiographical writing: within fiction it takes a form of biographical stylisation (e. g. Vilikovský, Kopcsay and Rozner). In the past ten to fifteen years, there has been a renewed interest in history in Slovak literature, mainly in pre-1989 history (e. g. Rankov, Krištúfek and Lavrík), which had been mistreated in pre-1989 Slovak literature, and later there was no interest in it or it was even rejected in the 1990s.During that time, historical memory was exploited to meet societal requirement. Silvester Lavrík was an exception—he was able to marry the two basic approaches to the past (personal history and historical) in a form of a dispute between them.

scholarly journals Introduction

2018 ◽  
Vol 47 (1) ◽  
pp. 93-94
Author(s):  
Daniel Hack
Keyword(s):  
Nineteenth Century ◽  
Historical Record ◽  
Past Tense ◽  
The Novel ◽  
Dynamic Interactions ◽  
Alternate History ◽  
The Past ◽  
Continuous Sequence ◽  
Antecedent Condition ◽  
British Culture

Catherine Gallagher's importance as a scholar of nineteenth-century British culture and a historian and theorist of the novel makes the appearance of a new monograph by her an event for Victorianists (among others). This is true even when few of the materials she discusses are, strictly speaking, Victorian, as is the case with her new book, Telling It Like It Wasn't: The Counterfactual Imagination in History and Fiction. In Telling It Like It Wasn't, Gallagher traces the emergence and development of analytic and narrative discourses premised on counterfactual-historical hypotheses. As the author explains, these hypotheses are past-tense, conditional conjectures “pursued when the antecedent condition is known to be contrary to fact,” such as, to take her two major examples, What if the South won the Civil War? and What if the Nazis had invaded Britain? Bringing together what Gallagher calls “counterfactual histories,” which are more analytical than narrative and typically consider multiple unrealized possibilities; works of “alternate history,” which describe one continuous sequence of departures from the historical record but draw their dramatis personae exclusively from that record; and “the alternate-history novel, [which] invents not only alternative-historical trajectories but also fictional characters,” Telling It Like It Wasn't explores the distinctive uses and dynamic interactions of these forms over the past two centuries and considers their implications for our understanding of more conventional fiction and historiography.

The Irish in Nineteenth-Century Britain: Problems of Integration

1981 ◽  
Vol 31 ◽  
pp. 149-173 ◽  
Author(s):  
M. A. G. Ó Tuathaigh
Keyword(s):  
Nineteenth Century ◽  
Regional Studies ◽  
Irish Immigrants ◽  
Victorian Britain ◽  
The Past ◽  
Growing Body ◽  
Scholarly Attention

Unlike their American cousins, the Irish immigrants in nineteenth-century Britain have, until recently, received comparatively little scholarly attention from historians. This is not to say that their presence in Victorian Britain has gone unnoticed; far from it. Throughout the nineteenth century the doings and, much more often, the mis-doings of the immigrant Irish were logged in massive detail by an army of social investigators, philanthropists, clergymen, royal commissions and parliamentary committees. But, with very few exceptions, the scholarly analysis of the data has only begun in earnest during the last two decades, and especially during the past few years. In a growing body of local and regional studies, and in studies of particular aspects of the Irish presence, the literature on the Irish immigrants is becoming not only more plentiful but also conceptually more sophisticated.

Das Geschichtsbild Walter Benjamins und die Inszenierung von Erinnerung in Regina Scheers Roman Machandel

2021 ◽  
Vol 57 (2) ◽  
pp. 155-174
Author(s):  
Christoph Seifener
Keyword(s):  
Cultural Memory ◽  
Direct Access ◽  
The Novel ◽  
Personal Memory ◽  
The Past ◽  
East German

The following article discusses Regina Scheer’s novel Machandel (2014) and the approach to personal memory and historical perception that Scheer develops by drawing on Walter Benjamin’s famous essay On the Concepts of History, published in 1940. The article examines formal and narrative aspects of the novel, which tells the story of a family and an East German village from the 1930s until the present day, in order to demonstrate how Scheer rejects the possibility of direct access to history and the reconstruction of the past. Special attention is devoted to the specific meanings of different forms of silence and the role of literature in the process of cultural memory.

On the Design and Performance of Radical High-Speed Sailing Vehicles

1980 ◽  
Vol 17 (01) ◽  
pp. 50-55
Author(s):  
W. S. Bradfield
Keyword(s):  
High Speed ◽  
International Competition ◽  
The Novel ◽  
The Past ◽  
Straight Line ◽  
Performance Predictions ◽  
Drag Racing ◽  
And Performance ◽  
Short Courses ◽  
Design Factors

A recently established international competition has encouraged straight-line yacht racing over very short courses in flat water with the strongest winds available. The object of this activity is to stimulate the quest for unrestricted sailing vehicle designs which will produce flat-out speed under relatively safe and controlled conditions, thereby pinning down and quantifying design factors governing high-speed yacht performance. This competition has produced a few surprises and some novel and ingenious designs—some successful. The object of the present paper is to discuss and compare some of the novel ideas which have developed into successful drag-racing yachts during the past five years. Performance predictions are compared with measured performance in outstanding cases.

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