"... 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 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. 

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.

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".

The Role and Importance of Book Culture in the Activities of the Czech Slovakophile Movement in the 19th Century

2019 ◽  
Vol 63 (3-4) ◽  
pp. 25-32
Author(s):  
Nadežda Jurčišinová
Keyword(s):  
19Th Century ◽  
Significant Role ◽  
The 19Th Century ◽  
National Defence ◽  
Book Culture

An important role in the activities of the Slovakophile movement, which was born in Bohemia and Moravia at the end of the 1870s, was played by book culture. Especially by means of books and articles in magazines, Czech Slovakophiles acquainted the wider Czech public with the position of Slovaks in Hungary and aroused interest in the development of Czech-Slovak solidarity. A significant role in this activity was played by the national-defence and Slovakophile association Czechoslovak Unity in Prague (1896–1914), which would send the Slovaks books and magazines, and even the entire libraries. Cooperation in this area was supported even by T. G. Masaryk, but especially by such Slovakophiles as Rudolf Pokorný, Josef Holeček, Adolf Heyduk, Karel Kálal, Jaroslav Vlček, František Pastrnek and František Bílý.

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

scholarly journals PEREDARAN OPIUM DI MINANGKABAU ABAD KE-19

2020 ◽  
Vol 10 (2) ◽  
Author(s):  
Muhammad Nasir
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
Reform Movement ◽  
Religious Groups ◽  
Opium Trade ◽  
Islamic Reform ◽  
History Of ◽  
The 19Th Century ◽  
Made In

This article discusses the history of Minangkabau in the 19th century AD. One of the themes of 19th century Minangkabau history is the Islamic reform movement promoted by religious groups commonly called the Padri movement. One of the central issues of the Padri movement was eradicating the habit of drinking alcoholism that occurred in Minangkabau society. The habit of smoking the drug that comes from boiling opium certainly indicates the existence of the drug on a large scale. Therefore, this article will present a picture of the opium trade in Minangkabau in the 19th century from upstream (providers) to downstream (dealers). It is hoped that this article will be useful as an explanation for the habit of smoking made in the Minangkabau community at that time.

scholarly journals Jardines renacentistas de la Villa Ducal de Benavente. El sueño de una utopía

Imafronte ◽  
2021 ◽  
pp. 1-18
Author(s):  
Jose Miguel Morales Folguera
Keyword(s):  
19Th Century ◽  
El Paso ◽  
Early Years ◽  
Three Generations ◽  
Continuous Care ◽  
Siglo Xix ◽  
The Aesthetic ◽  
The 19Th Century

Construidos por tres generaciones de los condes-duques de Benavente, entre 1499 y 1621, como instrumento de disfrute y de prestigio familiar de la villa ducal, los jardines de Benavente se convirtieron en uno de los jardines renacentistas más importantes de España. Desgraciadamente, los cambios en los gustos estéticos de los herederos, el paso de los ejércitos franceses de Napoleón y el abandono de una naturaleza necesitada de su continuo cuidado, hicieron que los jardines desaparecieran en los primeros años del siglo XIX. En este artículo nos proponemos hacer su reconstrucción ideal, con la utilización de los numerosos textos y de la documentación existente. Built for three generations of the count-dukes of Benavente, between 1499 and 1621, as an instrument of enjoyment and family prestige of the ducal town, the Benavente gardens became one of the most important Renaissance gardens in Spain. Unfortunately, the changes in the aesthetic tastes of the heirs, the destruction wrought by Napoleon's army and the abandonment of a nature in need of their continuous care, caused the gardens to disappear in the early years of the 19th century. In this article we propose to make its ideal reconstruction, with the use of the numerous texts and existing documentation.

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.

Yuly Aykhenvald’s “Natural Symbolism” (on the Question of the Aesthetic Method)

2021 ◽  
pp. 188-203
Author(s):  
Elena A. Tacho-Godi ◽  
◽  
◽  
Keyword(s):  
Literary Criticism ◽  
19Th Century ◽  
Oscar Wilde ◽  
Philosophy Of Life ◽  
Methodological Principles ◽  
The Aesthetic ◽  
The 19Th Century ◽  
The Relationship

The paper considers the methodological principles of Yu.I. Aykhenvald’s literary criticism. Attention is drawn to the relationship between Aykhenvald’s declared “immanent method” and “principled impressionism” and his own “philosophy of life”. It is proved that Aykhenvald’s version of “impressionism” is much closer to the theory of symbolism than it seemed to contemporaries and researchers. The analysis takes into account both the aesthetic “sympathies” (Apollon Grigoryev, Vladimir Solovyov, Oscar Wilde, Remy de Gourmont, Émile Faguet) and “antipathies” (Vissarion Belinsky, Vasily Rozanov), that influenced Aykhenvald’s interpretation of the heritage of literary critics, philosophers, and writers of the 19th century — Pushkin, Tolstoy, Chekhov.

Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter

2018 ◽  
Vol 11 (3) ◽  
pp. 418-435 ◽  
Author(s):  
Li Cornfeld ◽  
Victoria Simon ◽  
Jonathan Sterne
Keyword(s):  
Video Games ◽  
19Th Century ◽  
Creative Work ◽  
Interactive Game ◽  
Media Space ◽  
The Aesthetic ◽  
Media Form ◽  
The 19Th Century

Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.

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