Edgar Allan Poe: critical assessments. v.1: Life and works; v.2: Poe in the nineteenth century; v.3: Poe the writer: poems, criticism and short stories; v.4: Poe in the twentieth century

1992 ◽  
Vol 29 (11) ◽  
pp. 29-6128-29-6128
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Short Stories ◽  
Edgar Allan Poe

Introduction

2019 ◽  
pp. 11-28
Author(s):  
Glyn Morgan ◽  
C. Palmer-Patel
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Short Stories ◽  
Science Fiction ◽  
Literary History ◽  
Historical Narratives ◽  
Contemporary Novel ◽  
Alternate History ◽  
History Texts ◽  
The Relationship

The introduction provides a summary of the genre’s literary history from its earliest roots to the contemporary novel, presenting important examples of alternate history literature from nineteenth century French novels to early-twentieth century essays and more recent examples of science fiction short stories, novels, television and films. It provides definitions and distinctions for key terminology such as ‘nexus point’, ‘counterfactualism’, ‘secret history’ and ‘alternate future’, as well as an overview of important existing research, and explores the relationship between alternate history texts and their source historical narratives. After setting out the aims and aspirations of this collection of essays, the introduction concludes with a precis of the essays in the rest of the collection, underlining connections between them.

Bemerkungen zum ‚argentinischen‘ Borges

2020 ◽  
Vol 71 (1) ◽  
pp. 332-350
Author(s):  
Joachim Küpper
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Short Stories ◽  
Conceptual Framework ◽  
David Hume ◽  
Literary Fiction ◽  
Philosophical Position ◽  
Basic Assumptions ◽  
The Aesthetic ◽  
Scholarly Attention

AbstractThis essay focusses on two short stories pertaining to that part of the Borgesian œuvre, which has attracted less scholarly attention than his world-famous fantastic stories (La biblioteca de Babel, El inmortal, El Aleph). The ‘Argentinian’ stories – such as El muerto, or Tema del traidor y del héroe – impress readers with their laconic diction and cynicism. Ultimately, however, they may seem to be limited to a sort of nineteenth-century mimeticism. Considering these texts in detail, it turns out that the elements conveyed by the narrator insinuate different versions of the respective story—all of which are compatible with the ‘real’ events they refer to. Consequently, the author’s mimetic tales share a conceptual framework with his fantastic yarns – precisely one that is committed to the basic assumptions of skepticism. In what follows, the essay relates Borges’ twentieth-century version of this noetic edifice to its Ancient foundations, as well as to the first ‘wave’ of Skepticism in European Modernity (Descartes; Calderón). The last section addresses the aesthetic dimension of the Borgesian short stories: how does philosophy (and epistemology especially) relate to literary fiction – that is, to a textual genre, whose primary function appears to be entertainment, based on fantasizing? Resuming the discussion of Borges’ philosophical position, the essay concludes by quoting some remarks by David Hume, which seem to give expression to an attitude towards skepticism that is shared by the Argentinian author.

Poe and Mesmerism

PMLA ◽  
1947 ◽  
Vol 62 (4) ◽  
pp. 1077-1094
Author(s):  
Sidney E. Lind
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Edgar Allan Poe ◽  
The United States ◽  
The Subject ◽  
Animal Magnetism ◽  
The Difference ◽  
Psychoanalytic Theories

In three of his stories, “A Tale of the Ragged Mountains,” “Mesmeric Revelation,” and “The Facts in the Case of M. Valdemar,” Edgar Allan Poe reflected the interest of his day in what was by all odds the most fascinating of the new “sciences.” Mesmerism, first as a somewhat frightening novelty in the hands of its “discoverer,” Anton Mesmer, during the closing decades of the eighteenth century, and then as the handmaiden of medicine in the first half of the nineteenth century, had achieved enormous popularity throughout Europe and the United States.1 To compare such popularity with the spread of the psychoanalytic theories of Freud, Jung, and Adler in the twentieth century is to make but a feeble analogy, considering the difference in time and the development of science between the two ages. In addition, the interest manifested in mesmerism contained far more sensationalism and mysticism, and therefore had a more direct and widespread appeal. The extent of interest becomes clear when it is realized that in 1815 a commission was appointed in Russia to investigate animal magnetism, with a “magnetical” clinic being subsequently established near Moscow; that by 1817 doctors in Prussia and in Denmark were the only ones authorized to practice mesmerism, and were compelled to submit their findings to royal commissions; and that by 1835 a clinic had been established in Holland, and in Sweden theses on the subject were accepted for the doctorate.2

Verismo: Origin, Corruption, and Redemption of an Operatic Term

2007 ◽  
Vol 60 (2) ◽  
pp. 271-315 ◽  
Author(s):  
ANDREAS GIGER
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Short Stories ◽  
Performance Practice ◽  
Literary Scholarship ◽  
Italian Opera ◽  
Giovanni Verga ◽  
The Subject ◽  
Late Nineteenth ◽  
Large Corpus

Verismo, a term originally applied to nineteenth-century art and literature of various degrees of realism, has been the subject of controversy when applied to opera. While literary scholarship has come to measure verismo against the narrowly defined models provided by the theories, novels, and short stories of Luigi Capuana and Giovanni Verga, operatic scholarship has either superimposed these same theories on the dramatic genre of the libretto or it has constructed concepts of questionable historical foundation. Drawing mainly on a large corpus of neglected nineteenth- and early twentieth-century discussions of verismo, this article uncovers the original meanings of the termand outlines how we have come to adopt a view of verismo that is problematic in regard to both literature and opera. Contrary to this view, verismo was seen in the nineteenth century primarily as a reaction to the idealism and conventionality of earlier artworks; in this sense it had already been applied to opera before 1890, and it is, in fact, a perfectly appropriate designation for opera in the late nineteenth and early twentieth centuries. In comparison to Romantic Italian opera, with its conventional forms of both libretto and music, verismo opera reacts to idealism in any combination of categories ranging from plot to vocabulary, verse, harmony and melody, performance practice, and production.

scholarly journals ¡Ayer es nunca Jamás!:Recepción e influencia de la poesía de Edgar Allan Poe en Antonio Machado

2017 ◽  
Author(s):  
Cristina Flores Moreno
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Edgar Allan Poe ◽  
Modern Poetry ◽  
Antonio Machado ◽  
American Poet ◽  
Siglo Xix ◽  
Siglo Xx

Este artículo pretende mostrar la presencia de la poesía de Edgar Allan Poe en Antonio Machado, quien afi rmó en “Poética” (1931) que el poeta norteamericano era uno de los padres de la poesía moderna, así como el autor del mejor poema compuesto en el siglo XIX, “The Raven”. En primer lugar, abordaremos el estudio de la circulación y recepción de la poesía de Poe en España durante las primeras décadas del siglo XX, lo que nos permitirá elaborar un mapa de las diferentes rutas que le llevaron hasta Machado. Finalmente, el análisis de algunos poemas de Machado pertenecientes a Soledades y Campos de Castilla, especialmente aquellos dedicados a su joven esposa muerta, revelarán imágenes de melancolía, amor, muerte y sueños que recuerdan a Poe.Yesterday is Nevermore!: Reception and Infl uence of Edgar Allan Poe’s Poetry on Antonio Machado Abstract: This paper aims at offering a picture of Edgar Allan Poe’s legacy to the Spanish poet Antonio Machado, who defended in “Poética” (1931) that the American poet was one of the fathers of modern poetry as well as the author of the best poem written in the nineteenth century, “The Raven”. An initial overview of the circulation and reception of Poe’s poetry in Spain during the fi rst decades of the twentieth century will help trace the different routes that took him to Antonio Machado. Finally, the analysis of some of Machado’s poems in Soledades y Campos de Castilla, especially those devoted to her young departed wife, will disclose images of melancholy, love, death and dreams thar are reminiscent of Poe.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

Scottish Missionaries, ‘Protestant Hinduism’ and the Scottish Sense of Empire in Nineteenth- and Early Twentieth-century India

2007 ◽  
Vol 86 (2) ◽  
pp. 278-313 ◽  
Author(s):  
Philip Constable
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Western India ◽  
Early Nineteenth Century ◽  
Church Of Scotland ◽  
Free Church ◽  
Intellectual Engagement ◽  
Late Nineteenth ◽  
The Church

This article examines the Scottish missionary contribution to a Scottish sense of empire in India in the nineteenth and early twentieth centuries. Initially, the article reviews general historiographical interpretations which have in recent years been developed to explain the Scottish relationship with British imperial development in India. Subsequently the article analyses in detail the religious contributions of Scottish Presbyterian missionaries of the Church of Scotland and the Free Church Missions to a Scottish sense of empire with a focus on their interaction with Hindu socioreligious thought in nineteenth-century western India. Previous missionary historiography has tended to focus substantially on the emergence of Scottish evangelical missionary activity in India in the early nineteenth century and most notably on Alexander Duff (1806–78). Relatively little has been written on Scottish Presbyterian missions in India in the later nineteenth century, and even less on the significance of their missionary thought to a Scottish sense of Indian empire. Through an analysis of Scottish Presbyterian missionary critiques in both vernacular Marathi and English, this article outlines the orientalist engagement of Scottish Presbyterian missionary thought with late nineteenth-century popular Hinduism. In conclusion this article demonstrates how this intellectual engagement contributed to and helped define a Scottish missionary sense of empire in India.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

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