Ariosto in England in the Eighteenth Century

2019 ◽  
pp. 147-168
Author(s):  
Jane E. Everson
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Close Reading ◽  
Late Eighteenth Century ◽  
Late Eighteenth

This essay explores the changing fortunes of Ariosto’s poem in England in mid- to late eighteenth-century criticism through an examination of select passages of the Letters on Chivalry and Romance, by Bishop Richard Hurd (1762), and a close reading of the introduction, notes and commentaries appended to the two translations published in this period: that of William Huggins (1755) with facing-page text and translation into ottava rima; and that of John Hoole (1783) into English heroic couplets. While Huggins is full of enthusiasm for virtually every aspect of the Furioso, both Hurd and Hoole display a certain ambivalence towards Ariosto and his poem, reflecting the negative views of earlier, especially French, critics, the neo-classical preference for Tasso, and the influence of Dryden on the theory and practice of translation of poetry.

THE “HARD FORM” OF SCULPTURE: MARBLE, MATTER AND SPIRIT IN EUROPEAN SCULPTURE FROM THE ENLIGHTENMENT THROUGH ROMANTICISM

2008 ◽  
Vol 5 (3) ◽  
pp. 455-486 ◽  
Author(s):  
LINDA WALSH
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Early Nineteenth Century ◽  
External Appearance ◽  
The Enlightenment ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Familiar World ◽  
A Site ◽  
Aesthetic Values

The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to the observable, familiar world, while neoclassicism was too wedded to notions of clearly defined forms. This article explores sculptural practice and theory at this time as a site of complex debates around the medium's potential for specific concrete representation in a context of competing Romantic visions (ethereal, social and commercial) of modernity.

What Was Revolutionary about the Chemical Revolution?

2016 ◽  
Author(s):  
Nicholas W. Best
Keyword(s):  
Eighteenth Century ◽  
A Priori ◽  
Theory And Practice ◽  
Philosophy Of Chemistry ◽  
Chemical Revolution ◽  
Late Eighteenth Century ◽  
Philosophical Account ◽  
Late Eighteenth ◽  
History Of ◽  
Tacit Assumptions

THE CHANGES TO CHEMICAL theory and practice that took place in late eighteenth-century France were truly revolutionary because of the radical nature of the theoretical and methodological changes that occurred, because they were deliberately so, and because that was the start of a tradition in the philosophy of chemistry. What makes the Chemical Revolution unique among scientific revolutions is that it was anticipated by both philosophers and scientists before it occurred. This meant that the chemists who effected those changes were aware of the subversive nature of their reforms and carried out the revolution in a deliberate fashion. Three major shifts in the science of chemistry coincided in late eighteenth-century France to make the Chemical Revolution the turning point in the history of chemistry: Oxygen chemistry overthrew the reigning phlogiston theory; a cadre of prominently political chemists reformed chemical terminology, providing a new system of names based on oxygen theory; and an empiricopragmatic conception of elements as simple substances replaced a waning belief in hypostatical chemical principles. This last shift (although itself gradual) ensured that the revolutionary changes in theory and nomenclature would be the last truly radical reforms chemistry would ever need. Furthermore, the Chemical Revolution was itself a revolution in the philosophy of chemistry as it forced a change in tacit assumptions about the nature of both matter and scientific knowledge. Moreover, studies of this revolution have long shaped general philosophy of science and continue to do so. Cherry-picking the history of science for examples to fit an a priori philosophical theory should be even less acceptable in philosophy of the special sciences than in other branches of philosophy. If philosophers of science are to learn from history, it should be by analyzing changes within periods that historians recognize as revolutionary and giving a philosophical account. Hence the Chemical Revolution is a crucial point for even the most minimally naturalistic philosophy of chemistry. For some time now, historians of science have understood that the chemistry practiced before the 1770s cannot be dismissed as prescientific mysticism, as was once supposed.

Beethoven, Symphony No. 2 in D, op. 36/i (Adagio molto–Allegro con brio)

2021 ◽  
pp. 120-135
Author(s):  
James Hepokoski
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Central Issue ◽  
Close Reading ◽  
Sonata Theory ◽  
Minor Mode ◽  
Late Eighteenth Century ◽  
Middle Period ◽  
Late Eighteenth ◽  
Initial Movement

This chapter moves on from Mozart and Haydn to consider an early-nineteenth-century movement from Beethoven, the initial movement of his Symphony No. 2, written at the onset of what he considered to be an aesthetic “new path” of composition (and which we tend to regard as the onset of his “middle period”). While the parallels between this movement and that of Haydn’s Symphony No. 100 (chapter 5) are clear—a major-to-minor “fall” in the introduction, themes with “military” connotations, a drive toward a triumphant conclusion, and the like—the differences between the two are equally instructive. With Beethoven we are thrown into a more turbulent musical world, where the classical norms of late-eighteenth-century sonata practice are exaggerated, hyper-dramatized, and sometimes overridden (with “deformations”). The older “default” norms of sonata practice begin to be regularly challenged, and with them arises a new, proto-romantic sense of “listening” and “understanding.” Once past the initial historical backdrop and reframing of Sonata Theory for the onset of a new century, the close reading of the movement that takes up the most of the chapter argues that a central issue in the movement is that of major-minor conflict, where the introduction’s “fall” into minor is not overcome until the climactic post-sonata coda. In part this also prepares the reader for the extended discussions of the minor-mode sonata in the ensuing chapter.

The Resolution of Conflicts Through Territorial Partition: The Palestine Experience

1980 ◽  
Vol 22 (2) ◽  
pp. 281-300 ◽  
Author(s):  
Aaron S. Klieman
Keyword(s):  
Eighteenth Century ◽  
Conflict Resolution ◽  
Crisis Management ◽  
World Politics ◽  
Theory And Practice ◽  
Diplomatic History ◽  
Bargaining Theory ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Territorial Division

One finds partition often mentioned but rarely discussed in any detail by authors of texts on world politics. Denned as the act of dividing into two or more units an area previously forming a single administrative entity, partition is firmly anchored in both the theory and practice of international statesmanship. Modern diplomatic history offers a classic illustration in the repeated partitioning of Poland in the late eighteenth century. More recent instances of territorial division are Ireland (1920), Germany and Korea (1945), India (1947) and Indochina (1954). Reinforcement for such political arrangements, moreover, derives from the teachings and insights of bargaining theory, negotiating strategies, crisis management and conflict resolution with their primary emphasis upon compromise. Partition is thus presented as being a traditional and accepted method for terminating disputes outstanding among nations without recourse to war.

scholarly journals MIXED METRE IN A MIXED TASTE: TELEMANN AND EIGHTEENTH-CENTURY METRIC THEORY

2021 ◽  
Vol 18 (1) ◽  
pp. 11-39
Author(s):  
PAUL NEWTON-JACKSON
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Significant Part ◽  
Direct Connection ◽  
Georg Philipp Telemann ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Time Signature ◽  
And Performance ◽  
The Relationship

ABSTRACTThe use of integrated time-signature changes in eighteenth-century music has received little attention, probably because it is not considered a significant part of an eighteenth-century composer's toolkit. If mixed metre is discussed at all, it is linked with the late eighteenth-century conceptual shifts in metric theory brought about by Johann Philipp Kirnberger's circle. There exists, however, a substantial repertory of mixed-metre pieces from the first two thirds of the eighteenth century, with many examples to be found in the works of Georg Philipp Telemann. This repertory destabilizes any direct connection between mixed metre and the so-called Akzenttheorie, reminding us that the relationship between theory and practice at this time was far from straightforward. Beyond setting out how early eighteenth-century mixed metre operated within and against contemporary understandings of musical time, this article explores aspects of the origins, function and performance of these remarkable pieces.

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