Zur Poetik und Interpretation des offenen Schlusses

2021 ◽  
Vol 73 (4) ◽  
pp. 324-354
Author(s):  
Christian Utz
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
Alban Berg ◽  
Performance History ◽  
Early 19Th Century ◽  
Substantial Impact ◽  
20Th Century Music ◽  
Objective Time ◽  
Starting Point ◽  
The Aesthetic

This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence of self-reflexivity in early 19th-century music and aesthetics and even to Haydn's earlier listener-responsive musical writing. In later 19th-century and early 20th-century music, large-scale forms increasingly posed the problem of an inability to achieve closure. Further key examples elaborate the tendency of open endings toward musical self-reflexivity and the appearance of the composer-persona at the end of a cyclic work: Schubert's Der Leiermann from Winterreise, Schumann's Der Dichter spricht from Kinderszenen, Schoenberg's concluding piece from Six little Piano Pieces op. 19 as well as Lachenmann's "music with images" The Little Match-Girl. Finally, Schumann's and Schönberg's closing pieces are considered from the perspective of performance history and analysis, highlighting th performer's substantial impact on creating (or limiting) the impression of "openness".

"... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."

2021 ◽  
Vol 73 (4) ◽  
pp. 355-367
Author(s):  
Bianca Schumann
Keyword(s):  
19Th Century ◽  
Significant Role ◽  
Large Scale ◽  
Hector Berlioz ◽  
Hugo Wolf ◽  
Daily Press ◽  
Decisive Influence ◽  
Starting Point ◽  
The Aesthetic ◽  
The 19Th Century

In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by his misconception that Berlioz was only eighteen years old at the time of composition of the Symphony fantastique, had a decisive influence on the journalistic discourse on Berlioz in Vienna far beyond the first half of the century, for example on Hugo Wolf and Edmund Schelle. Other critics, such as August Wilhelm Ambros and Eduard Hanslick, took Schumann's ambiguity as their starting point to validate their less positive judgements.

scholarly journals Romantyczne wędrówki Polaków po Szwajcarii Saskiej

2019 ◽  
Vol 12 ◽  
pp. 149-175
Author(s):  
Ewa Grzęda
Keyword(s):  
19Th Century ◽  
Travel Literature ◽  
Early 19Th Century ◽  
Polish Literature ◽  
History Of ◽  
Polish Language ◽  
The Aesthetic ◽  
Spatial Imagination ◽  
Aesthetic Sensibility ◽  
The 19Th Century

Romantic wanderings of Poles across Saxon SwitzerlandThe history of Polish tourism in the Elbe Sandstone Mountains as well as the literary and artistic reception of the landscape and culture of Saxon Switzerland have never been discussed in detail. The present article is a research reconnaissance. The beginnings and development of tourism in the region came in the late 18th and early 19th century. The 1800s were marked by the emergence of the first German-language descriptions of Saxon Switzerland, which served as guidebooks at the time. From the very beginning Poles, too, participated in the tourist movement in the area. The author of the article seeks to follow the increasing interest in Saxon Switzerland and the appearance of the first descriptions of the region in Polish literature and culture. She provides a detailed analysis of Polish-language accounts of micro-trips to the Elbe Sandstone Mountains by Andrzej Edward Koźmian, Stanisław Deszert, Antoni Edward Odyniec, Klementyna Hoffman née Tańska and a poem by Maciej Bogusz Stęczyński. As the analysis demonstrates, in the first half of the 19th century Poles liked to visit these relatively low mountains in Central Europe and tourism in the region is clearly part of the history of Polish mountain tourism. Thanks to unique aesthetic and natural values of the mountains, full of varied rocky formations, reception of their landscape had an impact of the development of the aesthetic sensibility of Polish Romantics. Direct contact with nature and the landscape of Saxon Switzerland also served an important role in the shaping of spatial imagination of Polish tourists, encouraging them to explore other mountains in Europe and the world, including the Alps. On the other hand thanks to the development of tourist infrastructure in Saxon Switzerland, facilitating trips in the region and making the most attractive spots available to inexperienced tourists, micro-trips to the Elbe Sandstone Mountains marked an important stage in the development of mountain tourism on a popular-recreational level. Polish-language accounts of trips to Saxon Switzerland from the first half of the 20th century are a noteworthy manifestation of the beginnings of Polish travel literature.

The Opera as a Fragment in the Literary Reception of Carl Maria von Weber’s Der Freischütz (Adam Mickiewicz, Heinrich Heine, Théophile Gautier)

2016 ◽  
Vol 57 (5) ◽  
pp. 527-546
Author(s):  
Aleksandra Wojda
Keyword(s):  
19Th Century ◽  
Heinrich Heine ◽  
Theophile Gautier ◽  
Romantic Literature ◽  
Large Measure ◽  
Early 19Th Century ◽  
The Media ◽  
Carl Maria Von Weber ◽  
The Aesthetic ◽  
Adam Mickiewicz

Summary This article examines the influence of early 19th-century operatic culture on Romantic literature by focusing on the cultural, literary and transmedial (cross-genre) reception of one of the most popular works of the early Romantic opera, Der Freischütz by Carl Maria von Weber. More specifically, the analysis deals with that aspect of its influence which can be described as fragmentary reception. The article argues that examples of such fragmentary reception can be found in the works of Adam Mickiewicz, Heinrich Heine and Théophile Gautier. However, the central argument of this study is that the emergence of this type of trans-media links was, in a large measure, determined by a peculiar, fragmentary reception of operas. That model of reception had been popularized by a variety of trend-setting, opinion-making agents and institutions (the critics, the press), and enforced by mechanisms of socio-cultural and technological change (resulting in the broadening of the media landscape and the aesthetic sensibility of the general public). The article also claims that this reception model of the opera not only reinforced some structural elements of the operatic work itself but also prompted the writers to explore new ways of structuring their texts (a development encouraged by the upgrade of the fragment by the Romantic aesthetics). Thus early 19th-century socio-cultural and transmedial reception patterns of the opera can be seen as a spur to creativity and literary experimentation – a conclusion which casts doubt on the traditional view that it was a period when aesthetic idealism ruled supreme.

scholarly journals Reindeer pastoralism in Sweden 1550-1950

Rangifer ◽  
2007 ◽  
Vol 27 (3) ◽  
pp. 9 ◽  
Author(s):  
Lennart Lundmark
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
18Th Century ◽  
State Intervention ◽  
16Th Century ◽  
Detailed Knowledge ◽  
Reindeer Herding ◽  
The North ◽  
Starting Point ◽  
The 19Th Century

In the middle of the 16th century we get the first opportunity to a more detailed knowledge of reindeerpastoralism in Sweden. At that time the Sami lived in a hunter-gatherer economy. A family had in average about 10-20 domesticated reindeer, mainly used for transport. They could also be milked and used as decoys when hunting wild reindeer. During late 16th century the Swedish state and merchants bought large amounts of fur from the Sami. The common payment was butter and flour. This created a new prosperity, which lead to a considerable increase in population in Swedish Lapland. The population became too large for a hunter-gatherer economy. A crisis in early 17th century was the starting point for the transition to a large-scale nomadic reindeer pastoralism. Up to the middle of the 18th century intensive reindeer pastoralism was successful. But the pastoralism became gradually too intensive and diseases started to spread when the herds were kept too densely crowded for milking in summertime. During the first decades of the 19th century reindeer pastoralism in Sweden went through a major crisis. The number of reindeer herding mountain-Sami decreased considerably, mainly because they went to live permanently along the Norwegian coastline. Intensive reindeer pastoralism started to give way for extensive herding towards the end of the 19th century. In the north of Sweden influences from the Kautokeino Sami were an important factor, in the south extensive reindeer herding started to expand when the market for meat came closer to the Sami. During the 1920s the milking of reindeer ceased in Sweden, except in a few families. At that time Sami families from the north had been removed southwards. They further demonstrated the superiority of extensive herding to the Sami in mid- and southern Lapland. Reindeer pastoralism is basically a system of interaction between man and animal, but it has been heavily influenced by market forces and state intervention during hundreds of years. To a large extent these long-term external influences have made reindeer pastoralism what it is today. That aspect should not be overlooked when assessing the future prospects of reindeer pastoralism in Scandinavia.Renskötseln i Sverige 1550-1950Abstract in Swedish / Sammanfattning: Först vid mitten av 1500-talet finns det källmaterial som ger oss en tämligen detaljerad bild av renskötseln i Sverige. Vid den tiden levde samerna i en jakt- , fiske- och samlarekonomi. En familj hade normalt 10-20 renar som främst utnyttjades vid transporter. Tamrenarna kunde också mjölkas och fungera som lockdjur vid vildrensjakt. Under senare delen av 1500-talet köpte svenska staten och handelsmän stora mängder pälsverk av samerna. Den vanligaste betalningen var smör och mjöl. Detta skapade ett välstånd som ledde till en betydande folkökning i svenska lappmarken. Befolkningen blev för stor för att rymmas inom ramarna för en jaktochfiskeekonomi. En kris i början av 1600-talet blev startpunkten för övergången till en storskalig rennomadism.Fram till mitten av 1700-talet var den intensiva renskötseln framgångsrik. Men renskötseln blev efterhand alltför intensiv. Under senare delen av 1700-talet började det spridas sjukdomar i de tätt sammanhållna hjordarna. De första decennierna av 1800-talet innebar en allvarlig kris i renskötseln. Antalet renskötande fjällsamer minskade kraftigt, främst genom utvandring till norska kusten. Den intensiva renskötseln med mjölkning av renarna började ersättas av en extensiv renskötsel inriktad på köttproduktion de sista decennierna av 1800-talet. I norr var naturförhållandena och influenser från Kautokeino-samerna en viktig faktor, i söder utvecklades renskötseln i extensiv riktning främst därför att marknaden för renkött kom närmare renskötarna. Under 1920-talet upphörde mjölkningen av renar i Sverige, utom i några enstaka familjer. Då hade förflyttningarna av samer från nordligaste Sverige söderut påskyndat utvecklingen och ytterligare markerat den extensiva renskötselteknikensöverlägsenhet. Tamrenskötsel är ett samspel mellan människa och djur, men det är inte bara en fråga om renskötaren och hans hjord. Externa marknadsfaktorer, beskattning och lagstiftning har haft ett betydandeinflytande på renskötselns utveckling under hundratals år. De har till stor del format renskötseln till vad den är idag. Detta bör beaktas när man gör bedömningar av renskötselns framtid. 

Tastes for blubber: diversity and locality of whale meat foodways in Japan

2020 ◽  
Vol 10 (1) ◽  
pp. 105-114
Author(s):  
Jun Akamine
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Design Methodology ◽  
The Other ◽  
Early 20Th Century ◽  
Early 19Th Century ◽  
Content Type ◽  
Lean Meat ◽  
Starting Point ◽  
History Of

PurposeThis paper aims to discuss how whale meat foodways in Japan is a local practice, contrary to the prevailing political belief that it is national, and to examine two local whale meat foodways in Japan by focusing on the usage of blubber. To understand complexity of whaling issue, one needs to be careful of species rather than general “whale.”Design/methodology/approachBy investigating two kinds of recipe books, one published in the early 19th century and the other the early 20th century on whale meat dish, the paper clarifies blubber has been widely consumed rather than lean meat, and blubber was more important than lean meat as whale meat.FindingsThe western part of Japan has rich whale meat foodways compared to other parts of Japan. It is because of their history of whaling since the 17th century. They have inherited rich whale meat foodways.Originality/valueAlthough whale sashimi and deep-fried lean meat are popular nationwide regardless of their communities' history, former whaling communities in the western part of Japan developed a preference for blubber, skin, tongue and offal over lean meat. Whale meat foodways in Japan, therefore, is a local heritage. This fact should be the starting point for analyzing Japanese whaling and whale meat foodways.

Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre

2020 ◽  
Vol 65 (2) ◽  
pp. 39-56
Author(s):  
Ramona Malița
Keyword(s):  
19Th Century ◽  
Second Life ◽  
Literary History ◽  
Early 19Th Century ◽  
Madame De Stael ◽  
19Th Century Literature ◽  
Experimental Theatre ◽  
The Aesthetic ◽  
Literary Canons ◽  
French Romanticism

"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre. Keywords: Madame de Staël, Coppet, Geneva, experimental theatre, French Romanticism, aesthetic and literary canons, 19th century literature, romantic theatre."

„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik

2010 ◽  
Vol 51 (1-2) ◽  
pp. 79-90 ◽  
Author(s):  
Melanie Wald
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Musical Language ◽  
Early 19Th Century ◽  
Starting Point ◽  
Musical Works

Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.

scholarly journals The Galician Electoral Model

2013 ◽  
Vol 3 (2) ◽  
pp. 408-432
Author(s):  
Álvaro Xosé Lopez-Mira
Keyword(s):  
19Th Century ◽  
Basque Country ◽  
Early 19Th Century ◽  
Spanish Constitution ◽  
Starting Point

Along with Catalonia and the Basque Country, Galicia is one of the "historic nationalities" acknowledged by the Spanish Constitution of 1978; features such as an own language, an own culture and their political claim for differentiation describe its particular identity and are, as well, the starting point for the mentioned constitutional consideration. The centre-periphery conflicts have been constant throughout the history and became even worse both after the establishment of constitutionalism in the early 19th century and due to the exigency of Spanish nationalism during General Franco's dictatorship.

scholarly journals SOBRE A ARTE ENTRE OS S�CULOS 19 E 20: UMA ABORDAGEM A PARTIR DAS REPRESENTA��ES DO ATELI� VAZIO / On art between the 19th and 20th centuries: an approach from representations of the empty studio

2022 ◽  
Vol 27 (42) ◽  
pp. 172-187
Author(s):  
Nat�lia dos Santos Nicolich
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Paradigm Shifts ◽  
Starting Point ◽  
The Aesthetic ◽  
The 19Th Century ◽  
19Th Century Art

O estudo da hist�ria da arte no Brasil costumava tratar o s�culo 19 e o 20 como dois per�odos bastante distintos, quase conflitantes, sobre os quais n�o era poss�vel conceber que houvesse di�logo. Nos �ltimos anos, com as revis�es historiogr�ficas sobre a abordagem modernista, os pesquisadores valorizaram a produ��o oitocentista e por consequ�ncia abriram o campo para novas possibilidades de estudo sobre a arte nas primeiras d�cadas dos anos 1900. O presente artigo intenciona contribuir com essas pesquisas, propondo uma leitura para al�m das transforma��es est�ticas ocorridas nesse per�odo, tendo como ponto de partida as representa��es do ateli� vazio. Assim, considerando o ateli� vazio um tema por excel�ncia na arte do s�culo 19, investigamos sua persist�ncia no s�culo 20 apesar das mudan�as de paradigma na pintura. Para tanto, reunimos algumas obras realizadas entre os anos 1880 e 1950 aproximadamente, nas quais observamos aspectos sobre a posi��o do artista como profissional, a concep��o da arte e da realidade que os cerca.Palavras-chaveAteli� vazio. S�culos 19 e 20. Pintura. Artista.�AbstractThe study of Art History in Brazil used to treat the 19th century and the 20th century as two very distinct, almost conflicting periods, about which it was not possible to conceive that there were dialogues. In recent years, with the historiographic revisions on the modernist approach, researchers have valued the nineteenth-century production and consequently opened the field to new possibilities of studying art in the early 1900s. The present article intends to contribute to this research, proposing a reading beyond the aesthetic transformations that occurred in this period, taking as a starting point the representations of the empty studio. Thus, considering the empty studio a theme par excellence in 19th century art, we investigate its persistence in the 20th century despite the paradigm shifts in painting. To this end, we gathered some works from approximately 1880 to 1950, in which we observed aspects about the position of the artist as a professional, the conception of art and the reality that surrounds them.Keywords:Empty studio. 19th and 20th centuries. Painting. Artist.

scholarly journals Exploration of the chemical space and its three historical regimes

2019 ◽  
Vol 116 (26) ◽  
pp. 12660-12665 ◽  
Author(s):  
Eugenio J. Llanos ◽  
Wilmer Leal ◽  
Duc H. Luu ◽  
Jürgen Jost ◽  
Peter F. Stadler ◽  
...  
Keyword(s):  
Large Scale ◽  
Chemical Space ◽  
Inorganic Compounds ◽  
Synthesis Process ◽  
Annual Growth Rate ◽  
Reaction Products ◽  
General Belief ◽  
Early 19Th Century ◽  
Starting Point ◽  
New Compounds

Chemical research unveils the structure of chemical space, spanned by all chemical species, as documented in more than 200 y of scientific literature, now available in electronic databases. Very little is known, however, about the large-scale patterns of this exploration. Here we show, by analyzing millions of reactions stored in the Reaxys database, that chemists have reported new compounds in an exponential fashion from 1800 to 2015 with a stable 4.4% annual growth rate, in the long run neither affected by World Wars nor affected by the introduction of new theories. Contrary to general belief, synthesis has been the means to provide new compounds since the early 19th century, well before Wöhler’s synthesis of urea. The exploration of chemical space has followed three statistically distinguishable regimes. The first one included uncertain year-to-year output of organic and inorganic compounds and ended about 1860, when structural theory gave way to a century of more regular and guided production, the organic regime. The current organometallic regime is the most regular one. Analyzing the details of the synthesis process, we found that chemists have had preferences in the selection of substrates and we identified the workings of such a selection. Regarding reaction products, the discovery of new compounds has been dominated by very few elemental compositions. We anticipate that the present work serves as a starting point for more sophisticated and detailed studies of the history of chemistry.

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