scholarly journals From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach

New Sound ◽  
2019 ◽  
pp. 90-108
Author(s):  
Žarko Cvejić
Keyword(s):  
19Th Century ◽  
Critical Reception ◽  
Music Criticism ◽  
20Th Century Music ◽  
Sonic Art ◽  
The Enlightenment ◽  
Music Aesthetics ◽  
Shadow Cast ◽  
Carl Philipp Emanuel Bach ◽  
19Th And 20Th Century

The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.

scholarly journals From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850

New Sound ◽  
2016 ◽  
pp. 65-80
Author(s):  
Žarko Cvejić
Keyword(s):  
19Th Century ◽  
Human Subject ◽  
Contemporary Music ◽  
Art Music ◽  
Musical Performance ◽  
Contemporary Philosophy ◽  
Music Criticism ◽  
The Enlightenment ◽  
The Uncanny ◽  
Automatic Technique

In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.

Abortion and Infanticide

2021 ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Latin American ◽  
Medical Knowledge ◽  
Criminal Trials ◽  
Late 20Th Century ◽  
Colonial Era ◽  
Public Defense ◽  
19Th And 20Th Century ◽  
The 19Th Century

The history of infanticide and abortion in Latin America has garnered increasing attention in the past two decades. Particularities of topic and temporal focus characterize this work and shape this bibliography’s geographic organization. Mexico possesses the most developed scholarship in both the colonial and modern periods. There, tracing of the persistence of pre-Conquest Indigenous medical knowledge and the endurance of paraprofessional obstetrical practitioners through the colonial era and into the 19th century features prominently and echoes some of the scholarship examining European midwives’ administration of plant-based abortifacients in the medieval and Early Modern eras. This topic plays a role, but a much less prominent one in scholarship on Colombia, Peru, and Brazil. Scholars of Brazil, the Caribbean, and circum-Caribbean have focused in particular on the issue of enslaved mothers’ commission of infanticide and abortion on their own children in the 18th and 19th centuries, a particularly fraught issue in the context of the abolition of the slave trade. A central assumption in much scholarship on the 19th-century professionalization (and masculinization) of obstetrical medicine is that the marginalization of midwives entailed a reduction in women’s access to abortion, although this position has been challenged in some recent scholarship on 19th-century Mexico in particular. The examination of the ways that the new republics perceived the crimes of infanticide and abortion in their legal codes, judicial processes, and in community attitudes is a central focus of 19th- and 20th-century scholarship. Scholars have remarked upon the considerable uniformity across all regions of a paucity of denunciations or convictions in the first half of the 19th century and the rise of criminal trials for both crimes in its last three decades. This change coincided (although no one has argued been provoked by) many countries’ issuance of national penal codes in the 1870s and 1880s. This intensification of persecution also coincided with the Catholic church’s articulation of an explicit condemnation of abortion (Pius IX’s 1869 bull Apostolicae Sedis), although demonstrating the concrete implications of this decree to the Latin American setting remains a task yet to be undertaken. Historians of both abortion and infanticide have also concentrated on defendant motives and defenses in criminal investigations. While some highlight defendants’ economic desperation, most scholars argue that the public defense of female sexual honor was a crucial motivator, which courts understood as a legitimate concern in 19th- and even mid-20th-century trials. Scholarship on 20th-century infanticide and abortion history continues to concentrate on fluctuations in attitudes toward honor, gender, and the family as influences on criminal codes and especially judicial sentencing for both acts, and toward the late 20th century on feminist efforts to decriminalize abortion that have met with varied success across countries.

Orientalism in the Art Music of the Ionian Islands

2019 ◽  
pp. 296-317
Author(s):  
Kostas Kardamis
Keyword(s):  
Roman Empire ◽  
Case Studies ◽  
19Th Century ◽  
Early Stage ◽  
Art Music ◽  
Ionian Islands ◽  
The Enlightenment ◽  
The 19Th Century

The Ionian Islands were at an early stage cut off from the Eastern Roman Empire, experienced the changes that came with the Renaissance, actively participated in the Enlightenment and were in contact with the multifarious ideologies of the 19th century. These factors transformed their art music, which followed the ‘western’ trends. In this context, ‘orientalism’ appeared as an additional creative element in certain indigenous composers’ works. Its use ranged from the stereotypical ‘western’ approach regarding the Orient to the employment of ‘oriental’ elements as media of political (especially during the struggles for the Islands’ annexation to the Greek Kingdom), national (as a conventional ‘Greek characteristic’) and social statements, and as a way for the works’ entrepreneurial promotion to a larger audience. The chapter discusses these changing—and often concurrent and diverging—attitudes through case studies; it stresses that ‘orientalism’ never became a compositional fixation for Ionian Islands composers.

19th and 20th century theories of case

1995 ◽  
Vol 22 (1-2) ◽  
pp. 123-162 ◽  
Author(s):  
Alan Cienki
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Cognitive Linguistics ◽  
Cognitive Representation ◽  
Spatial Expressions ◽  
Similarities And Differences ◽  
19Th And 20Th Century ◽  
The 19Th Century

Summary This article considers the similarities and differences between two types of semantically-based approaches to the study of grammatical case. One approach, which views the basic meanings of cases as spatial, stems from the localist hypothesis, which claims that spatial expressions serve as structural templates for other expressions. This view was most strongly espoused by certain German linguists in the 19th century, but has found support in the 20th century as well. The range of localist theories of case and the extent of the claims made by different localists are considered. These are compared and contrasted with contemporary approaches subsumed under the banner of ‘cognitive linguistics’. Research in this vein has focussed on the role of spatial notions in the semantics of case, but within a broader framework of human conceptualization. According to this view, space is only one of several domains which are basic to cognitive representation.

scholarly journals Paganate kookidest seakõrvadeni. Transkultuuriline rännak ühe toidu jälgedes läbi sajandite ja kokaraamatute

2017 ◽  
pp. 16-33
Author(s):  
Inna Põltsam-Jürjo
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Middle Ages ◽  
18Th Century ◽  
Cultural Exchange ◽  
Food History ◽  
Early 19Th Century ◽  
History Of ◽  
The Common ◽  
19Th And 20Th Century

From “heathens’ cakes” to “pig’s ears”: tracing a food’s journey across cultures, centuries and cookbooks It is intriguing from the perspective of food history to find in 19th and 20th century Estonian recipe collections the same foods – that is, foods sharing the same names – found back in European cookbooks of the 14th and 15th centuries. It is noteworthy that they have survived this long, and invites a closer study of the phenomenon. For example, 16th century sources contain a record about the frying of heathen cakes, a kind of fritter, in Estonia. A dish by the same name is also found in 18th and 19th century recipe collections. It is a noteworthy phenomenon for a dish to have such a long history in Estonian cuisine, spanning centuries in recipe collections, and merits a closer look. Medieval European cookbooks listed two completely different foods under the name of heathen cakes and both were influenced from foods from the east. It is likely that the cakes made it to Tallinn and finer Estonian cuisine through Hanseatic merchants. It is not ultimately clear whether a single heathen cake recipe became domesticated in these parts already in the Middle Ages. In any case, heathen cakes would remain in Estonian cuisine for several centuries. As late as the early 19th century, the name in the local Baltic German cuisine referred to a delicacy made of egg-based batter fried in oil. Starting from the 18th century, the history of these fritters in Estonian cuisine can be traced through cookbooks. Old recipe collections document the changes and development in the tradition of making these cakes. The traditions of preparing these cakes were not passed on only in time, but circulated within society, crossing social and class lines. Earlier known from the elites’ culture, the dish reached the tables of ordinary people in the late 19th and early 20th century. In Estonian conditions, it meant the dish also crossed ethnic lines – from the German elite to the Estonian common folk’s menus. In the course of adaptation process, which was dictated and guided by cookbooks and cooking courses, the name of the dish changed several times (heydenssche koken, klenätid, Räderkuchen, rattakokid, seakõrvad), and changes also took place in the flavour nuances (a transition from spicier, more robust favours to milder ones) and even the appearance of the cakes. The story of the heathen cakes or pig’s ears in Estonian cuisine demonstrates how long and tortuous an originally elite dish can be as it makes its way to the tables of the common folk. The domestication and adaptation of such international recipes in the historical Estonian cuisine demonstrates the transregional cultural exchange, as well as culinary mobility and communication.

scholarly journals Filozoficzno-historyczne zaplecze etyki biznesu

2018 ◽  
pp. 151-179
Author(s):  
Paweł Więckowski
Keyword(s):  
Roman Empire ◽  
20Th Century ◽  
19Th Century ◽  
Social Contract ◽  
The Enlightenment ◽  
European Culture ◽  
History Of ◽  
History Of Culture ◽  
The 19Th Century

The text describes different philosophical concepts and historically important cultural phenomena that should be considered while rethinking ethical side of business. Broad range of both philosophical (such as the search for the foundations of morality, social contract) and social subjects (such as history of centralized state, individualism) is presented to help the reflections. The background for analysis is the history of culture, especially of primary collective society; contrasted with it is individualism of classical Athens with corresponding reaction of philosophers; development of state and Christianity in Roman Empire; organismic medieval state; Renaissance, reformation and the birth of capitalism; the Enlightenment breakthrough and English capitalism; liberalism and Darwinism of the 19th century; the catastrophe of European culture and success of America of the 20th century.

scholarly journals Between the old and the new : Friedrich Gentz, 1764-1832

2019 ◽  
Author(s):  
◽  
Ardis Travis Eakin
Keyword(s):  
19Th Century ◽  
French Revolution ◽  
Edmund Burke ◽  
The Political ◽  
Early 19Th Century ◽  
Revolutionary Era ◽  
The Enlightenment ◽  
Political Impact ◽  
Revolutionary Ideology ◽  
The 19Th Century

This dissertation reviews the life and political impact of Friedrich Gentz, who was born in Breslau, Prussia, in 1764, and died in Vienna, Austria, in 1832. Though remembered today as only a second- (or even third)- tier statesman alongside such luminaries of his day as Napoleon, Metternich, Wellington, and others, Gentz was nonetheless of importance in the shifting tides of late 18th and early 19th-century politics in Europe. The German translator of Edmund Burke, he was instrumental in bringing the conservative thinker's ideas into the conversations of Central Europe, while his writings against first the French Revolution, then Napoleon, marked him as one of the leading opponents of revolutionary ideology, and led the French emperor to dub him "that miserable scribe." But Gentz was important even beyond his anti-revolutionary polemics. As a product of the Enlightenment, he had some sympathy with the forces of modernity, and his career reflected the struggle to combine an openness to reform with hostility to revolution. In his later collaboration with Metternich to forge what became known as the Restoration, we can see just how much the post-Napoleonic conservative order in Europe was built upon a specific vision, one that rejected the quasi-feudal patterns of the ancien regime just as firmly as it did the democratic radicalism of its own day. Though it ultimately did not last, Gentz's work is clearly visible in the political contours of the 19th century. From the Enlightenment salons of Berlin to the dazzling Congress of Vienna and beyond, Between the Old and the New traces the eventful career of one of the most interesting men of letters in Revolutionary-era Europe.

scholarly journals The Promotion of Pilgrimage Sites in Moravia through Broadside Ballads in the First Half of the 19th century

2019 ◽  
Vol 63 (3-4) ◽  
pp. 188-195
Author(s):  
Jakub Ivánek ◽  
Monika Szturcová
Keyword(s):  
19Th Century ◽  
Main Role ◽  
Ancient History ◽  
The Enlightenment ◽  
First Case ◽  
Broadside Ballads ◽  
Restrictive Measures ◽  
Joseph Ii ◽  
The 19Th Century ◽  
New Situation

The article deals with broadside ballads with themes related to pilgrimage, which were used by Moravian pilgrims from the 1790s, but mainly in the first half of the 19th century. The period under study thus begins after the death of the Enlightenment ruler Joseph II, who introduced a number of restrictive measures into the pilgrimage system, which altered the pilgrimage practice. The quantity of pilgrimage songs then published as broadside ballads proves the unceasing interest of especially commoners in pilgrimages and the culture associated with them. The songs themselves, however, occasionally mirror the new situation. The first case is represented by songs about the pilgrimage sites abolished by the reforms of Joseph II and later (mostly from the second quarter of the 19th century) renewed (an analysis on the examples of Bludov and Hostýn). The second case includes newly established pilgrimage sites, which sometimes claim allegedly ancient history but are often only local replacements for more remote pilgrimage sites (an analysis on the examples of Jalubí and Lutršték near Němčany). The main role in the restoration and establishment of pilgrimage sites at that time was played by commoners, often peasants, who, after the Enlightenment reforms, assumed the role previously reserved for higher-ranking people (the nobility, clergy and burghers). Likewise the literature promoting the new or restored sites comes from these circles, which is reflected in a certain primitiveness of expression, yet interspersed with remnants of Baroque stereotypes.

scholarly journals Manuscritos dieciochescos desconocidos del Fondo Altamira en la Biblioteca de Ginebra

2018 ◽  
pp. 221
Author(s):  
José Checa Beltrán ◽  
Abraham Madroñal Durán
Keyword(s):  
Eighteenth Century ◽  
19Th Century ◽  
Political Satire ◽  
Siglo De Oro ◽  
The Enlightenment ◽  
Siglo Xix ◽  
Unpublished Manuscripts ◽  
Almost All ◽  
The 19Th Century ◽  
Sobre Todo

RESUMENEn la «Collection Favre» de la Bibliothèque de Genève se custodia el «Fondo Altamira», 83 códices con unos diez mil documentos históricos y literarios, casi todos manuscritos. Contienen textos de los siglos XV al XVIII. Constituyen una pequeña parte del enorme fondo documental que en el siglo XIX pertenecía a los Condes de Altamira. Cuatro de esos 83 volúmenes contienen manuscritos literarios del Siglo de Oro y, sobre todo, del siglo ilustrado. Los autores de este artículo ofrecen aquí un catálogo de todos esos textos, centrando su atención en los relativos al siglo XVIII. La mayor parte de este inventario corresponde a manuscritos desconocidos e inéditos: diez comedias y un gran número de composiciones poéticas de temática variada, amorosa, sátira política, religiosa, temas festivos, eventos, milagros, villancicos, sobre teatro y actores, etc.PALABRAS CLAVELiteratura del siglo XVIII español, manuscritos literarios inéditos del siglo XVIII español, Fondo Altamira, Biblioteca de Ginebra, Collection Favre. TITLEUnknown eighteenth-century manuscripts from the Altamira Archives at Geneva LibraryABSTRACTIn the «Collection Favre» of the Bibliothèque de Genève the «Fondo Altamira» is guarded, 83 codices with some ten thousand historical and literary documents, almost all manuscripts. They contain texts from the 15th to the 18th centuries. They constitute a small part of the enormous documentary collection that belonged to the Counts of Altamira in the 19th century. Four of those 83 volumes contain literary manuscripts of the Golden Age and, above all, the Enlightenment century. The authors of this article offer a catalogue of all these texts, with a particular focus on those related to the XVIII Century. Most of this inventory corresponds to unknown and unpublished manuscripts: ten comedies and a large number of poetic compositions of varied theme, love, political satire, religious, festive themes, events, miracles, Christmas carols, theater and actors, etc.KEY WORDSLiterature of the eighteenth century Spanish, unpublished literary manuscripts of the eighteenth century Spanish, Altamira Archives, Geneva Library, Collection Favre.

Cursed with Patriotism. The Educational Potential of Enslavement (Polish Society in the Russian Partition of Poland in the First Half of the 19th Century)

2014 ◽  
Vol 6 (1) ◽  
Author(s):  
Barbara Jędrychowska
Keyword(s):  
19Th Century ◽  
Crucial Role ◽  
Civic Identity ◽  
Young Generation ◽  
National Education ◽  
The Enlightenment ◽  
Patriotic Education ◽  
Polish Society ◽  
The 19Th Century ◽  
Educational Potential

AbstractThe paper presents the educational space of Polish homes and schools during the Partitions of Poland, with emphasis on its crucial role in the process of integration of the young generation, the birth of solidarity among them, and shaping their national and civic identity. Especially the Enlightenment ideas of the Commission of National Education (Komisja Edukacji Narodowej – KEN) that were to be found in the course books of the Wilno Educational District from 1803 to 1832 made it possible to perpetuate the model of patriotic education originated in family homes.

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