Political Corrections: The Revolutionary Context and English Retranslations of Johann Georg Zimmermann’s Vom Nationalstolze [On National Pride] (1768)

Holidays have the power to reflect the nation's views, imagination, vision and national values about the scientist and man through artistic images. In addition, holidays form and strengthen feelings such as national pride and national pride, which are composed of such principles as nationhood, popularity, heroism, beauty, grandeur, as well as aesthetic pleasure, aesthetic interest, aesthetic taste and formation of aesthetic ideals – forming a composition of aesthetic perception that distinguishes people from other life events. In this article, the stages of development of holidays and their artistic and aesthetic features will be studied and studied on a scientific and theoretical basis. Also, the philosophical-aesthetic analysis of the concept of the holiday, the history of its development and scientific-methodological aspects are studied.

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The Perils of Marriage as Transcendent Ontology: National Pride at Work v. Governor of Michigan

SSRN Electronic Journal ◽

10.2139/ssrn.993971 ◽

2007 ◽

Cited By ~ 1

Author(s):

William B. Turner

Keyword(s):

National Pride

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‘Each Song Was Just Like a Little Sermon’

10.1093/oso/9780198812425.003.0014 ◽

2018 ◽

Author(s):

Isaac Land

Keyword(s):

Nineteenth Century ◽

Golden Age ◽

Military Training ◽

One Dimensional ◽

National Pride ◽

Recent Scholarship ◽

The Relationship

This chapter is central to the volume’s chronological contentions, as its argument accounts for the specialized, one-dimensional Dibdin of ‘Tom Bowling’ that has endured into recent scholarship. Focusing on Dibdin’s posthumous reception, it examines the moral and rhetorical difficulties of repackaging Dibdin’s works for a Victorian sensibility; it explores the specifics of mid-century concert culture previously highlighted by Derek Scott and William Weber as central to changes in nineteenth-century taste and programming; and it develops the theme of nostalgia into a revelatory consideration of the relationship between new naval technologies, national pride, and military training, and the songs, people, and language of a remembered Napoleonic ‘golden age’—to which Dibdin proves to have been as central, in the Victorian imagination, as Nelson.

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