scholarly journals The Hungarian Peculiarities of National Remembrance: Historical Figures with Symbolic Importance in Nineteenth-century Hungarian History Paintings

2012 ◽  
Vol 5 ◽  
pp. 129-145
Author(s):  
Zsuzsanna Tóth
Keyword(s):  
Nineteenth Century ◽  
Cultural Memory ◽  
Visual Art ◽  
The Body ◽  
History Painting ◽  
International Context ◽  
Historical Figures ◽  
Essential Components ◽  
Political Relationship ◽  
Historical Past

In order to place nineteenth-century Hungarian art into international context, this article calls for the theoretical discourse of cultural memory, when a suppressed community turns to their past and insists on their antecedents’ traditions for the survival of their culture. When, in the 1850s and 1860s, the leaders of the Habsburg Austrian Empire retaliated against Hungary for its 1848-49 “Fight for Freedom”, Hungarian visual art of the era rediscovered long-honoured figures of the historical past as the essential components of Hungarian national identity. This article argues that the successful visualization and memorialization of outstanding historical characters with symbolic values for the Hungarian nation was due to history painting itself as medium. The Hungarian painters’ choice of characters vigorously reacted to the changing political relationship between the Austrians and the Hungarians from the failure of the 1849 Hungarian Fight for Freedom until the 1850s and the 1870s involving the 1867 Austro-Hungarian Compromise. Keeping it in mind, the display and the reception of four great paintings, Bertalan Székely’s The Discovery of the Body of King Louis II (1860), Viktor Madarász’s Péter Zrínyi and Ferenc Frangepán in Prison at Wiener-Neustadt (1864), Székely’s The Women of Eger (1867) and Gyula Benczúr’s The Baptism of Vajk (1875) are analysed.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Rethinking Mahler

2017 ◽  
Keyword(s):  
Nineteenth Century ◽  
Structural Analysis ◽  
First Century ◽  
Late Nineteenth Century ◽  
Temporal Experience ◽  
Cultural Contexts ◽  
Late Nineteenth ◽  
Twenty First Century ◽  
Literature History ◽  
Historical Past

Gustav Mahler’s anniversary years (2010–11) have provided an opportunity to rethink the composer’s position within the musical, cultural and multi-disciplinary landscapes of the twenty-first century, as well as to reassess his relationship with the historical traditions of his own time. Comprising a collection of essays by leading and emerging scholars in the field, Rethinking Mahler in part counterbalances common scholarly assumptions and preferences which predominantly configure Mahler as proto-modernist, with hitherto somewhat neglected consideration of his debt to, and his re-imagining of, the legacies of his own historical past. It reassesses his engagement both with the immediate creative and cultural present of the late nineteenth century, and with the weight of a creative and cultural past that was the inheritance of artists living and working at that time. From a variety of disciplinary perspectives the contributors pursue ideas of nostalgia, historicism and ‘pastness’ in relation to an emergent pluralist modernity and subsequent musical-cultural developments. Mahler’s relationship with music, media and ideas past, present, and future is explored in three themed sections, addressing among them issues in structural analysis; cultural contexts; aesthetics; reception; performance, genres of stage, screen and literature; history/historiography; and temporal experience.

“The Blackness of Darkness”

2021 ◽  
Vol 11 (1) ◽  
pp. 2-22
Author(s):  
Lara Langer Cohen
Keyword(s):  
Nineteenth Century ◽  
The Body ◽  
Tourist Attraction ◽  
White Writers ◽  
The World ◽  
Newspaper Articles ◽  
Travel Accounts

Abstract This article considers Kentucky’s Mammoth Cave as an unexpected site for nineteenth-century theorizations of racialized Blackness. Mammoth Cave became a major tourist attraction in the 1840s, generating a host of guidebooks, travel accounts, magazine illustrations, panoramas, newspaper articles, and fiction. Crucial to its fame was the fact that the guides who led visitors through the cave were enslaved men. This article argues that white writers responded to the guides’ knowledge of the cave by reframing it as affinity. In doing so, they transformed Mammoth Cave’s subterranean darkness into a manifestation of racialized Blackness. But the writers’ racialization of Mammoth Cave also had a tendency to slip out of their control. As they associated its spatial darkness with racialized Blackness, the literal underground of Mammoth Cave flickered into an underground that was more than literal—a mysterious Black formation, of unguessed dimensions and certain danger, beneath the world as they knew it. Finally, the article asks what we can glean from the literature of Mammoth Cave about the body of Black thought it sought to disavow: the alternative relations between race and the underground that the guides theorized through their own subterranean explorations.

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

scholarly journals Een pasgeboren staat, of een recentelijk ontwaakte natie?

1970 ◽  
Vol 59 ◽  
pp. 5-22
Author(s):  
Nele Bemong
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Collective Memory ◽  
Cultural Memory ◽  
Crucial Role ◽  
Historical Novel ◽  
International Community ◽  
Historical Novels ◽  
The Creation

Between 1830 and 1850, practically out of nowhere there came into beinga truly 'Belgian' literature, written boch in Flemish and in French, but aimedat a single goal: the creation of a Belgian past and the conscruction of aBelgian national identity. The historical novel played a crucial role in thisconscruction and representation of a collective memory for the Belgian statejust out of the cradle. The prefaces to these historical novels are characterizedboth by the central role granted to the representacion of Flanders as the cradleof nineteenth-century Belgium, and by the organically and religiously inspiredimagery. Attempts were made to create an intimate genealogical relationshipwith the forefathers, in order to make the Belgian citizens feel closer to theirrich heritage. Through the activation of specific recollections from theimmense archive of the collective cultural memory, Belgian independencefound its legitimization both towards the international community andtowards the Belgian people.

Genealogy of the Cerebral Subject

Being Brains ◽  
2017 ◽  
Author(s):  
Fernando Vidal ◽  
Francisco Ortega
Keyword(s):  
Nineteenth Century ◽  
Functional Neuroimaging ◽  
The Body ◽  
Self Help ◽  
Brain Structure And Function ◽  
Cerebral Subject ◽  
The Individual ◽  
And Function ◽  
Cerebral Self ◽  
The Brain

The first chapter proposes to trace the distant roots of the cerebral subject to the late seventeenth century, and particularly to debates about the seat of the soul, the corpuscularian theory of matter, and John Locke’s philosophy of personal identity. In the wake of Locke, eighteenth century authors began to assert that the brain is the only part of the body we need to be ourselves. In the nineteenth century, this form of deterministic essentialism contributed to motivate research into brain structure and function, and in turn confirmed the brain-personhood nexus. Since then, from phrenology to functional neuroimaging, neuroscientific knowledge and representations have constituted a powerful support for prescriptive outlooks on the individual and society. “Neuroascesis,” as we call the business that sells programs of cerebral self-discipline, is a case in point, which this chapter also examines. It appeals to the brain and neuroscience as bases for its self-help recipes to enhance memory and reasoning, fight depression, anxiety and compulsions, improve sexual performance, achieve happiness, and even establish a direct contact with God. Yet underneath the neuro surface lie beliefs and even concrete instructions that can be traced to nineteenth-century hygiene manuals.

Lucia and the Auscultation of Disease in Mid-Nineteenth-Century France

2020 ◽  
pp. 1-30
Author(s):  
Mark A. Pottinger
Keyword(s):  
Nineteenth Century ◽  
The Body ◽  
Emotional Symptoms ◽  
Early Nineteenth Century ◽  
Nineteenth Century France ◽  
The Look ◽  
The Individual ◽  
Medical Historian ◽  
Eventual Death ◽  
French Physician

As many scholars have shown, regardless of its popularity today, the ‘mad scene’ of Lucia di Lammermoor was not popular in the several years that followed the premiere in 1835. In fact, audiences, critics and publishers of opera selections for the salon preferred the love duet of act 1 or the final scene of the opera when Edgardo kills himself upon hearing the news that Lucia is dead. In this article, I explore early nineteenth-century notions of hysteria, a disease that manifested with both physical and emotional symptoms. If undiagnosed, the individual suffering from the disease would experience muscle contractions, pupil dilations, delusions, cardiac arrest and eventual death. One of the seminal studies of hysteria in the first half of the nineteenth century was written by the French physician and medical historian Frédéric Dubois d'Amiens (1799–1873), who published in 1833 Histoire philosophique de l'hypochondrie et de l'hystérie, a 500-plus page investigation into the cause and cure of hysterics and hypochondriacs. Through an investigation of the diagnosis of hysteria in d'Amiens's work and the sound and look of hysteria in Donizetti's opera, now made more acute through familiarity with the newly invented stethoscope (1816, René Laennec) and its ability to deliver the internal sounds of the body, we can see how close the opera comes to mirroring the look and sound of the disease, which may explain the lack of enthusiasm and in some cases outright hostility to Lucia's fall into madness in the early reception of the work in France.

Turning Vanity Fair into The Cœlestial City: England’s Legal Narratives of the Body Politic from Bunyan to Thackeray

Pólemos ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 123-145
Author(s):  
Matteo Nicolini
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Strong Influence ◽  
Body Politic ◽  
The Body ◽  
The Political ◽  
Constitutional History ◽  
Vanity Fair ◽  
Legal Narratives ◽  
English Constitutional History

Abstract The article addresses the different narratives that characterize English constitutional history. It first examines the mainstream narrative, i. e., the retrospective reading of the seventeenth- and eighteenth-century constitutional events dispensed by jurists and politicians in an attempt to pack the Establishment Constitution. It then focuses on the alternative legal narratives about the Constitution elaborated during the Civil War and the Restoration. Among them, it ascertains John Bunyan’s impact on the Establishment Constitution. Bunyan was a member of the New Model Army, a radical, and a Puritan who ended up in prison. Despite this background, he exerted a strong influence on Victorian society and on Thackeray’s representation of the body politic. As a consequence, Bunyan entered the political discourse in the first half of the nineteenth century when politicians started to reform English representative institutions, and therefore became part of the Establishment Constitution.

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