Catastrophe in an Age of Enlightenment

2019 ◽  
pp. 69-98
Author(s):  
Cynthia A. Kierner
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Visual Representations ◽  
Modern Culture ◽  
Cultural Event ◽  
Lisbon Earthquake ◽  
Age Of Enlightenment ◽  
Rebuilding Effort ◽  
Post Disaster ◽  
Rational Inquiry

The greatest European calamity of the eighteenth century, the 1755 Lisbon earthquake is often called the “first modern disaster” in part because of the vigorously rational inquiry into its causes, which informed a self-consciously scientific post-disaster rebuilding effort. Examining responses to the Lisbon earthquake (and to the seemingly related Cape Ann earthquake, which occurred in Massachusetts three weeks later), this chapter interprets these episodes as a cultural event that drew on both Enlightenment rationalism and ideals of sensibility to forge a modern culture of disaster in embryonic form. This chapter focuses on three key developments: the interplay between religious and scientific explanations for the earthquake, even among some clergy; its unusually rich popular culture, which included unprecedented numbers of visual representations and Voltaire’s Candide, along with widely circulated eyewitness accounts by merchants and sea captains; and the remarkable international relief effort to aid earthquake victims, which included significant and widely publicized contributions from King George II and the British Parliament.

Individuals In Postmodern Society And Evolution Of New York In Select Novels Of Don Delillo.

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 875-879
Author(s):  
M. Thendral ◽  
Dr. G. Parvathy
Keyword(s):  
New York ◽  
New York City ◽  
Popular Culture ◽  
York City ◽  
Don Delillo ◽  
Media Technology ◽  
Daily Lives ◽  
Modern Culture ◽  
American Society ◽  
Effects Of Media

DeLillo is a well- known American novelist of fifteen novels, who is widely regarded by other critics as an important satirist of modern culture. Throughout his novels, he has picturized the chaos underwent by the society i.e. the effects of media, technology and popular culture on the daily lives of contemporary American society. All of his novels move in and around New York City as a setting. The study attempts to examine the development of New York City and individuals in a post-modernistic perspective.

Polin: Studies in Polish Jewry Volume 32

2020 ◽  
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Popular Culture ◽  
National Identity ◽  
Final Section ◽  
Classical Music ◽  
Religious Practice ◽  
Jewish Music ◽  
The Holocaust ◽  
Jewish Involvement

With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“

scholarly journals Under the Tourist Gaze: Kathmandu in Popular Culture

2020 ◽  
Vol 11 (1) ◽  
pp. 1-18
Author(s):  
Arvind Dahal
Keyword(s):  
Popular Culture ◽  
Identity Formation ◽  
Visual Representations ◽  
Tourist Gaze ◽  
Image Production ◽  
Cultural Negotiations ◽  
The City

 This research explores the shifts and continuities of representing Kathmandu City in Western cinematic and musical creations since 1970s. My research concerns with the representations of Kathmandu in the popular culture intends to explore the imagination of Kathmandu as a touristic place and how they represent the city and produce images in the popular culture which expands far beyond the visual apprehension and enjoyment of a landscape. While doing so my research first explores the representations, practices and processes of identity formation and cultural negotiations that are brought about in the city by tourism and secondly, it analyses the content and the visual representations of the movies and songs relying primarily on the theoretical tools of Popular Culture and secondarily the image production of the landscape in terms of Tourist gaze.

Visual Representations of Women in Popular Culture

2017 ◽  
Author(s):  
Lynn Dumenil
Keyword(s):  
Popular Culture ◽  
New Woman ◽  
Visual Representations ◽  
American Women ◽  
Film Images ◽  
The New Woman ◽  
Representations Of Women ◽  
Striking Contrast ◽  
Dividing Line

This chapter on popular culture visual representations of women focuses on posters and photographs, but primarily on film images of American women. Representations of traditional womanhood were quite evident in the war years, but so too were images of modern women, who while feminine, were also independent and resourceful. They appear in photographs in the workplace doing men’s work or in uniform marching in patriotic parades. In films, they spurred men to enlist and foiled the plots of enemy agents by extraordinary feats of physical daring and courage. Their agency offers a striking contrast to the notion of women as objects in need of masculine protection. These images stimulated the roiling debate in pre-war American over the “new woman” and contributed to a popular sense of the war being a dividing line that heralded the new woman of the postwar era.

Islam and Modernity

2016 ◽  
pp. 328-343
Author(s):  
Radwan Ziadeh
Keyword(s):  
Eighteenth Century ◽  
Geographic Area ◽  
Islamic World ◽  
The Past ◽  
True Meaning ◽  
Abrahamic Religions ◽  
Age Of Enlightenment ◽  
To Come ◽  
Islam And Modernity

The problem of Islam and modernity has been an important point of discussion in the Arab and Islamic world for decades, though this discussion has taken various forms, such as being called the conflict between the past and the present, or tradition and progress. This discussion has hidden within it clear contradictions when seeking compromise between the Abrahamic religions and present times throughout history. This conflict first appeared in the geographic area known as the Islamic world and looked much like the Age of Enlightenment in Europe in the eighteenth century. However, the true meaning of the conflict revolved around the capacity of Islam as a religion to be compatible with modernity and its philosophy, precepts, politics, and historical facts. This means that Islam was obliged to come into agreement with modernity, which became like the soul and language of the present.

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

Two into Three Won't Go? Poetic Structure and Musical Forms in Mozart's Idomeneo

2012 ◽  
Vol 24 (3) ◽  
pp. 229-248
Author(s):  
Tim Carter
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Poetic Structure ◽  
Ternary Form ◽  
Before And After ◽  
Rational Inquiry ◽  
Musical Forms

AbstractBy the last quarter of the eighteenth century, the typical Metastasian two-stanza aria text could be set to music in one of two ways: in the ternary form typical of the earlier da capo aria (stanzas 1–2–1) or in a binary one (stanzas 1–2–1–2). Why did Mozart choose one form over the other in Idomeneo (1781); what does this tell us about the role of his librettist, Giovanni Battista Varesco, both before and after the composer left Salzburg for Munich to finish composing the opera and to prepare its performance; and how might these issues enable some rational inquiry into questions of music and drama?

Haydn's Creation and Enlightenment Theology

2008 ◽  
Vol 39 ◽  
pp. 25-44
Author(s):  
Mark Berry
Keyword(s):  
Eighteenth Century ◽  
Intellectual History ◽  
High Culture ◽  
The Enlightenment ◽  
Age Of Enlightenment ◽  
The Creation ◽  
Austrian Tradition

Haydn's two great oratorios, The Creation and The Seasons (Die Schöpfung and Die Jahreszeiten) stand as monuments—on either side of the year 1800—to the Enlightenment and to the Austrian Enlightenment in particular. This is not to claim that they have no connection with what would often be considered more “progressive”—broadly speaking, romantic—tendencies. However, like Haydn himself, they are works that, if a choice must be made, one would place firmly in the eighteenth century, “long” or otherwise. The age of musical classicism was far from dead by 1800, likewise the “Age of Enlightenment.” It is quite true that one witnesses in both the emergence of distinct national, even “nationalist,” tendencies. Yet these intimately connected “ages” remain essentially cosmopolitan, especially in the sphere of intellectual history and “high” culture. Haydn's oratorios not only draw on Austrian tradition; equally important, they are also shaped by broader influence, especially the earlier English Enlightenment, in which the texts of both works have their origins. The following essay considers the theology of The Creation with reference to this background and, to a certain extent, also attempts the reverse, namely, to consider the Austrian Enlightenment in the light of a work more central to its concerns than might have been expected.

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