"History, Man, and Reason: A Study in Nineteenth-Century Thought," by Maurice Mandelbaum

1972 ◽  
Vol 50 (1) ◽  
pp. 134-135
Author(s):  
Lee C. Rice ◽  
Author(s):  
Benedict Taylor

For the nineteenth century, music was commonly characterized as the “art of time,” and provided a particularly fertile medium for articulating concerns about the nature of time and the temporal experience of human life. This chapter examines some of the debates around music and time from the period, arranged thematically around a series of conceptual issues. These include the reasons proposed for the links between music and time, and the intimate connection between our subjective experience of time and music; the use of music as a poetic metaphor for the temporal course of history; its use by philosophers as an instrument for the explication of temporal conundrums; its alleged potential for overcoming time; its various forms of temporal signification across diverse genres; and the legacy of nineteenth-century thought on these topics today.


1980 ◽  
Vol 50 (2) ◽  
pp. 196-213 ◽  
Author(s):  
Barbara Brenzel

Barbara Brenzel examines nineteenth-century juvenile reform policies by telling the story of Lancaster, a progressive reform school for girls in Massachusetts. Analyzing the efforts of reformers to socialize poor girls, many of whom were immigrants, she describes the contradictory dual purposes underlying these policies—fear and benevolence. The discussion of Lancaster illustrates how particular policies and programs for potentially deviant girls reflected nineteenth-century thought about reform, childhood,poverty, and especially the role of women in society.


The long nineteenth century spans a host of important philosophical movements: romanticism, idealism, socialism, Nietzscheanism, and phenomenology, to mention a few. Hegel, Schopenhauer, Kierkegaard, Nietzsche, and Marx are well-known names from this period. This, however, was also a transformative period for women philosophers in German-speaking countries and contexts. Their works are less well known yet offer stimulating and pathbreaking contributions to nineteenth-century thought. In this period, women philosophers explored a wide range of philosophical topics and styles. Throughout the movements of romanticism, idealism, socialism, and phenomenology, women philosophers helped shape philosophy’s agenda and provided unique approaches to existential, political, aesthetic, and epistemological questions. While during the nineteenth century women continued to be (largely) excluded from formal education and positions, they developed ways of philosophizing that were accessible, intuitive, and activist in spirit. The present volume makes available to English-language readers––often for the first time––the works of nine significant women philosophers, with the hope of stimulating further interest in and scholarship on their works. The editors’ introductions offer a comprehensive overview of the contributions of women philosophers in the period as well as to individual figures and movements. The translations are furnished with explanatory footnotes and are designed to be accessible to students as well as scholars.


Author(s):  
Silke Leopold

Wolfgang Amadeus Mozart was one of many composers who, during the last quarter of the eighteenth century, thought more and more about a German-language opera. The idea of a German national opera was intensively discussed in Mannheim, and also put into practice with Ignaz Holzbauer's setting of Anton Klein's libretto Günther von Schwarzburg (1777). The idea of the national opera took hold in Europe during the nineteenth century. Is the German national opera, which composers and writers on music from Richard Wagner to Hans Pfitzner see as starting with Christoph Willibald Gluck's Iphigenie auf Tauris and Carl Maria von Weber's Freischütz, a historical reality or a historiographical construct? In order to answer this question, this chapter takes a brief look at the situation of opera around 1800, for only in Germany, and not in the other two leading opera nations, Italy and France, can a development at this time be observed in which the idea of a national opera takes shape.


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