scholarly journals La Lucrècia Borja de ficció en el drama d’Hugo i els seus derivats

2015 ◽  
Vol 6 (6) ◽  
pp. 100
Author(s):  
Marc Gomar Calatayud
Keyword(s):  
Nineteenth Century ◽  
Victor Hugo ◽  
Femme Fatale ◽  
Family Policies ◽  
Fictional Character ◽  
Gaetano Donizetti ◽  
The Real ◽  
Black Legend ◽  
The Many ◽  
Pope Alexander Vi

Resum: El drama Lucrèce Borgia de Victor Hugo confereix al personatge històric una sèrie d’atributs en sintonia amb el gust sensacionalista de l’època: en ser dona, poderosa, bella i formada. Lucrècia Borja és el millor exemple d’allò que Kristeva anomena «l’abjecte» en les Pouvoirs de l’horreur (1980). Una imatge de femme fatale lligada al verí o l’incest que es popularitzarà gràcies a les nombroses obres derivades del drama: de l’òpera de Donizetti als romanços populars de manera que les característiques del personatge de ficció s’imposaran a l’històric en l’imaginari col·lectiu. Lucrècia Borja, que fins aleshores havia estat considerada un instrument al servei de les polítiques familiars, entrarà a formar part per «mèrits» propis del triangle del mal junt amb l germà, Cèsar Borja, i son pare, el papa Alexandre VI. Paraules clau: Lucrècia Borja, Victor Hugo, Gaetano Donizetti, llegenda negra, literatura de cordell, paròdia, segle XIX, Francesc Godó, abjecte Abstract: The Victor Hugo’s drama Lucrezia Borgia gives to the historical character some attributes in line with the sensationalist preferences of that time: being a female, powerful, beautiful and educated. Lucrezia Borgia is the best example of what Kristeva names «the abject» in Pouvoirs de l’horreur (1980). The character is a femme fatale image linked to poison or incest and it was popularized thanks to the many works resulting from this drama. So that, the features of the fictional character prevailed to the real historical character in the popular beliefs, this happened in Donizetti's opera, but also in the chapbooks of that time. Lucrezia Borgia had previously been considered an instrument in the service for family policies, but she became part of an evil triangle, thanks to her own attitude, along with her brother, Cesare Borgia, and her father, the pope Alexander VI. Keywords: Lucrezia Borgia, Victor Hugo, Gaetano Donizetti, black legend, chapbook, parody, nineteenth century, Francesc Xavier Godó, abject

Physics and the Ontological Problem

Philosophy ◽  
1932 ◽  
Vol 7 (28) ◽  
pp. 404-413
Author(s):  
G. N. M. Tyrrell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Real World ◽  
Physical Science ◽  
Ontological Status ◽  
The Real ◽  
Ontological Question ◽  
The World ◽  
The Many ◽  
Ontological Problem

If there is one question which stands forth pre-eminently from among the many problems with which physical science bristles, it is that of the ontological status of the world which physics is exploring. What is reality in the eyes of science, and what are we to understand the physicist to mean when he refers to the “real world”? Can we agree with him when he assures us that physical science represents a progress towards pure truth? There seems to be a certain reluctance on the part of twentieth-century physicists to face the ontological question which I think their colleagues of the nineteenth century did not share to the same extent.

Mobility Stopped in Its Tracks

Transfers ◽  
2015 ◽  
Vol 5 (3) ◽  
pp. 87-103 ◽  
Author(s):  
Catharine Coleborne
Keyword(s):  
Nineteenth Century ◽  
Social Institutions ◽  
The Poor ◽  
Medical Institutions ◽  
Poor White ◽  
White Immigrants ◽  
The Many ◽  
Interpretive Framework

This article examines the interpretive framework of “mobility” and how it might usefully be extended to the study of the Australasian colonial world of the nineteenth century, suggesting that social institutions reveal glimpses of (im)mobility. As the colonies became destinations for the many thousands of immigrants on the move, different forms of mobility were desired, including migration itself, or loathed, such as the itinerant lifestyles of vagrants. Specifically, the article examines mobility through brief accounts of the curtailed lives of the poor white immigrants of the period. The meanings of mobility were produced by immigrants' insanity, vagrancy, wandering, and their casual movement between, and reliance on, welfare and medical institutions. The regulation of these forms of mobility tells us more about the contemporary paradox of the co-constitution of mobility and stasis, as well as providing a more fluid understanding of mobility as a set of transfers between places and people.

Hearing the Crimean War

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Sound Studies ◽  
The Black Sea ◽  
Crimean War ◽  
National Unity ◽  
Black Sea Region ◽  
Academic Fields ◽  
History Of ◽  
The Many

This book addresses the sounds of the Crimean War, along with the many ways nineteenth-century wartime is aurally constructed. It examines wide-ranging experiences of listeners in Britain, France, Turkey, Russia, Italy, Poland, Latvia, Daghestan, Chechnya, and Crimea, illustrating the close interplay between nineteenth-century geographies of empire and the modes by which wartime sound was archived and heard. This book covers topics including music in and around war zones, the mediation of wartime sound, the relationship between sound and violence, and the historiography of listening. Individual chapters concern sound in Leo Tolstoy’s wartime writings, and his place within cosmopolitan sensibilities; the role of the telegraph in constructing sonic imaginations in London and the Black Sea region; the absence of archives for the sounds of particular ethnic groups, and how songs preserve memories for both Crimean Tatars and Polish nationalists; the ways in which perceptions of voice rearranged the mental geographies of Baltic Russia, and undermined aspirations to national unity in Italy; Italian opera as a means of conditioning elite perceptions of Crimean battlefields; and historical frames through which to understand the diffusion of violent sounds amid everyday life. The volume engages the academic fields of musicology, ethnomusicology, history, literary studies, sound studies, and the history of the senses.

Viktor Vasnetsov’s New Icons

Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 131-144
Author(s):  
Wendy Salmond
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
National Culture ◽  
Russian Society ◽  
Late Imperial ◽  
Imperial Period ◽  
Paris Exposition ◽  
The Many ◽  
Modern Orthodox ◽  
Human Hands

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.

On Graeffe's Method for Complex Roots of Algebraic Equations

1924 ◽  
Vol 22 (2) ◽  
pp. 83-87 ◽  
Author(s):  
S. Brodetsky ◽  
G. Smeal
Keyword(s):  
Nineteenth Century ◽  
Real Axis ◽  
Practical Method ◽  
Algebraic Equations ◽  
Argand Diagram ◽  
Considerable Difficulty ◽  
The Real ◽  
Real Roots ◽  
Bipolar Coordinates ◽  
Complex Roots

The only really useful practical method for solving numerical algebraic equations of higher orders, possessing complex roots, is that devised by C. H. Graeffe early in the nineteenth century. When an equation with real coefficients has only one or two pairs of complex roots, the Graeffe process leads to the evaluation of these roots without great labour. If, however, the equation has a number of pairs of complex roots there is considerable difficulty in completing the solution: the moduli of the roots are found easily, but the evaluation of the arguments often leads to long and wearisome calculations. The best method that has yet been suggested for overcoming this difficulty is that by C. Runge (Praxis der Gleichungen, Sammlung Schubert). It consists in making a change in the origin of the Argand diagram by shifting it to some other point on the real axis of the original Argand plane. The new moduli and the old moduli of the complex roots can then be used as bipolar coordinates for deducing the complex roots completely: this also checks the real roots.

THE GENERAL STATE OF AMERICAN PEDIATRICS IN 1855 WITH PARTICULAR REFERENCE TO PHILADELPHIA

PEDIATRICS ◽  
1957 ◽  
Vol 19 (3) ◽  
pp. 456-461
Author(s):  
Ernest Caulfield
Keyword(s):  
Nineteenth Century ◽  
General Medicine ◽  
Vast Number ◽  
Patent Medicines ◽  
Past Half Century ◽  
The Press ◽  
Practical Nurses ◽  
The Many ◽  
Full Century ◽  
Past Half

IN VIEW of the tremendous advance in pediatrics during the past half century, one might think that a full century ago no one could have known very much about the care of children. To read the newspapers of that day, one might also conclude that it was an age primarily of quacks and patent medicines—of worm cures, hive syrups and of little liver pills. But to appreciate the true status of American pediatrics in 1855 one must judge it not only by the standards of our time but also by the standards of a century earlier, and when that is done it will be seen that American pediatrics in the mid-Nineteenth Century had also made considerable progress. In 1755 the care of the sick was generally in the hands of well-meaning yet untrained practical nurses whereas in 1855 people were turning to physicians who were usually medical school graduates, well acquainted with a vast number of new and important publications. More and more pediatric articles were appearing in the many American journals; and in the review of a new book, one writer mentioned "the numerous publications on the management of infants and children with which the press has been loaded." Indeed, the press was loaded, for the Philadelphia physician had at his command no less than 8 fairsized textbooks in English devoted exclusively to the care of children. The second quarter of the Nineteenth Century saw a definite trend toward pediatrics as a specialty. There is no need to discuss here the numerous elementary guides which were intended primarily for mothers and which were precursors of the textbooks, or the many systems of general medicine with their chapters on pediatric subjects, especially since this trend may be well illustrated by mentioning only the impressive list of textbooks published in Philadelphia.

The Chronology of Sudanese Arabic Genealogical Tradition

2000 ◽  
Vol 27 ◽  
pp. 325-337 ◽  
Author(s):  
Jay Spaulding
Keyword(s):  
Nineteenth Century ◽  
World War I ◽  
Historical Record ◽  
Economic Transformation ◽  
Nile Valley ◽  
Human Beings ◽  
Old Kingdom ◽  
History Of ◽  
The Many ◽  
Islamic Faith

Modern nationalisms first arose during the later eighteenth century around the wide periphery of the ancient heartland of western culture and gnawed their way inward during the course of the nineteenth century to the core, culminating in World War I, Each new nationalism generated an original “imagined community” of human beings, part of whose ideological cohesion derived from a sense of shared historical experience. Since the actual historical record would not necessarily satisfy this hunger, it was often found expedient to amend the past through acts of imagination aptly termed the “invention of tradition.”One of the many new “imagined communities” of the long nineteenth century took shape in the northern Nile-valley Sudan between the final disintegration of the old kingdom of Sinnar (irredeemable after the death of the strongman Muhammad Abu Likaylik in 1775) and the publication of Harold MacMichael's A History of the Arabs in the Sudan in 1922. The new national community born of the collapse of Sinnar, strongly committed to Arabic speech and Islamic faith, was tested by fire through foreign conquest and revolution, by profound socio-economic transformation, and by the challenges attendant on participation in an extended sub-imperialism that earned it hegemony—first cultural, and ultimately political—over all the diverse peoples of the modern Sudan.One important response of the nascent community to the trials of this difficult age was the invention of a new national historical tradition, according to which its members were descended via comparatively recent immigrants to the Sudan from eminent Arabs of Islamic antiquity.

scholarly journals The many versions of the painting of Tingqua’s studio: painting copying and originality in nineteenth-century canton

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Elad Yaron
Keyword(s):  
Nineteenth Century ◽  
Main Question ◽  
Art World ◽  
Old World ◽  
Job Requirements ◽  
Knowing That ◽  
The Many

Abstract Personal expression was generally not part of the job requirements of trade-painters in nineteenth-century Canton, China. They were asked to produce paintings tailored to their Western consumers’ interests, wishes, and needs. Yet, in the middle of this “art-world” lies an enigma: a set of thirteen paintings depicting the workshop of the trade-painter Tingqua, which seem, at first glance, to be duplicates of a mundane product of the industry. Closer examination, however, reveals not only that each of these versions is unique, but also that the series as a whole is actually extraordinary. The workshop paintings are full of details, including various quotes written in calligraphy, which would not have been understood either by Western or even by most Chinese viewers, but only by members of the scholar-gentry, that is, the literati of China. The main question we face before this thirteen-piece puzzle is: why did the artist plant messages or integrate codes in paintings that were sent to a world in which nobody could decode them? I propose that these workshop paintings be read as a self-portrait of a person living in a world that is witnessing a contest between two substantially different momentous cultures, each struggling to prove its superiority or dominance. Watching the demise of an old world to which he himself was contributing, Tingqua decided to treasure some of its features despite knowing that those who purchased the works would not be able to appreciate them.

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