The Gun before the Lyre

2020 ◽  
pp. 34-61
Author(s):  
Thomas P. Hodge
Keyword(s):  
Nineteenth Century ◽  
Close Friend ◽  
Sport Hunting

This chapter explores the three most prevalent kinds of sport hunting pursued in nineteenth-century Russia — coursing, hounding, shooting — and suggests that their essential differences pointed to very distinct modes of interacting with nature. Illustrative examples of Ivan Turgenev's zealous devotion to shooting are taken from memoir accounts of his actual hunting praxis. The chapter discusses Turgenev's hunting experience and proclivities. Hunting became one of the most important aspects of Turgenev's existence, even an obsession. The chapter mentions Turgenev's close friend Dmitrii Iakovlevich Kolbasin's memoir, which gives us a glimpse of Turgenev as a hunting tutor. It also discusses Turgenev's afield in memoirs and letters.

“He was the Muhammad 'Abduh of Syria” A Study of Tāhir Al-Jazā'irī and His Influence

1986 ◽  
Vol 18 (3) ◽  
pp. 293-310 ◽  
Author(s):  
Joseph H. Escovitz
Keyword(s):  
Nineteenth Century ◽  
Close Friend ◽  
Muslim Countries ◽  
The Impact

Muhammad Kurd 'Alī referred to his teacher and close friend, Sheikh Tāhir al-Jazā'irī, as the Muhammad 'Abduh of Syria. Kurd 'Alī, however, was not alone in remarking upon the impact that al-Jazā'irī had in Syria during the lete nineteenth and early twentieth centuries. Albert Hourani also mentioned him in comparison to 'Abduh:Ideas such as those of 'Abduh were “in the air” in the last quarter of the nineteenth century. We find similar groups of reformers in all the more advanced Muslim countries, and perhaps it is too simple to explain them in terms of the influence of al-Afghānī and 'Abduh. It could be said… that al-'Urwa al-wuthqa could only have had its influence because there were already little groups of Muslims thinking on the lines which made it popular… In Syria similar men can be found in all the great centers of Muslim learning… Among those whom were roughly contemporary with 'Abduh and had some contact with him, was Tāhir al-Jazāir'ī,… a writer on literary and linguistic subjects, he had a wider importance through his work for the establishment of modern schools and the preservations of ancient books.

scholarly journals Semblanza absolutamente exacta: mapas y medios en Borges y Royce

post(s) ◽  
2021 ◽  
Vol 7 ◽  
pp. 134-153
Author(s):  
John Peters ◽  
Hugo Burgos
Keyword(s):  
Nineteenth Century ◽  
William James ◽  
Close Friend ◽  
Late Nineteenth Century ◽  
Fellow Traveler ◽  
Late Nineteenth ◽  
Josiah Royce ◽  
Anglo American ◽  
The Universe

Josiah Royce, the American idealist philosopher (1855-1916), is best known to readers of Borges in connection with a recursive map-within-a-map drawn upon the soil of England. Indeed, Borges ranks ​​"el mapa de Royce" side-by-side with his beloved Zeno´´´ s  paradox in “Otro poema de los dones” (336), a Whitmanesque catalog of a few of his favorite things. Borges appreciated Royce as a fellow-wanderer through the late nineteenth-century thickets of both Anglo-American idealism and the new mathematics of transfinite numbers. Royce was not so much an influence on Borges as a fellow traveler who had arrived in a somewhat similar place after passing through Berkeley, Schopenhauer, and Cantor. After cataloging connections between the two thinkers and explicating Royce's map, I will suggest that both figures are theorists of infinity and metaphysicians of the copy who offer fertile suggestions to our understanding of media in general and maps in particular. Though Royce and Borges both can strike some readers as architects of suffocating idealistic structures, there is a difference. Royce thinks his figures of infinity really do disclose the truth about the universe. Borges sees in such figures the paradoxes and slippages involved in any project of perfect duplication, and his skepticism about philosophical representation is designed, ultimately, to provide oxygen and exit from totalitarian systems. In this I would view Borges as a follower of Royce's close friend, Harvard colleague and philosophical antagonist: William James.  

“Honolulu Hula Hula Heigh”

2017 ◽  
Author(s):  
James Revell Carr
Keyword(s):  
Nineteenth Century ◽  
Native Hawaiian ◽  
Close Friend ◽  
King David ◽  
Popular Songs ◽  
Late Nineteenth ◽  
Hawaiian Culture ◽  
The Relationship

This chapter illustrates how the relationship between sailors and Hawaiians helped to foster the new sound of Native Hawaiian culture in the late nineteenth and early twentieth centuries. Hawaii's last king, David Kalākaua, was influenced by sailors' songs and minstrelsy, and his maritime adventures contributed to his policy of promoting indigenous Hawaiian music. The chapter also examines the works of the early hapa haole songwriter Joseph K. A'ea, a close friend of Queen Lili'uokalani and member of the Royal Hawaiian Band, who based at least one of his earliest popular songs on the lyrical, rhythmic, and melodic characteristics of the nineteenth-century sea chantey.

James Rennell and British Arctic expeditions, 1818–1829

Polar Record ◽  
1993 ◽  
Vol 29 (170) ◽  
pp. 189-196 ◽  
Author(s):  
Gwyn Griffiths
Keyword(s):  
Nineteenth Century ◽  
Close Friend ◽  
Early Years ◽  
Ocean Currents ◽  
Major Work ◽  
Arctic Exploration ◽  
Stark Contrast ◽  
Deep Interest

ABSTRACTDuring the resurgence of Arctic exploration in the early years of the nineteenth century, James Rennell was the leading British geographer. He had a deep interest in exploration, and was a close friend of many naval and scientific men involved in Arctic research. Rennell used the observations of a number of explorers in his major work on the currents of the Atlantic — the first scientific treatise on ocean currents. These observations led Rennell to form opinions on where northwest passages would and would not be found, in particular, that Prince Regent Inlet would prove to be a cul-de-sac. Rennell was also doubtful of the practicality and usefulness of such passages — his brief, commonsense dismissal being in stark contrast to many statements of his contemporaries. This paper sets out his relationship with the explorers of the time and his role as a scientific interpreter of their data.

Social Anglicanism and Empire: C. F. Andrews's Christian Socialism

2018 ◽  
Vol 54 ◽  
pp. 407-421
Author(s):  
Philip Lockley
Keyword(s):  
South Africa ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
British Empire ◽  
Social Thought ◽  
Close Friend ◽  
Frame Of Reference ◽  
Social Conscience ◽  
The Poor ◽  
Christian Socialism

Charles Freer Andrews (1871–1940) was a close friend of Mohandas K. Gandhi and played a celebrated role in the Indian struggle for independence within the British empire. This article makes the case for understanding Andrews as a pioneering example of the evolution from nineteenth-century Christian Socialism to twentieth-century global ‘social Anglicanism’, as Andrews's career fits a form better recognized in later campaigners. The article draws attention to three beliefs or principles discernible in Andrews's life as a Christian Socialist in the 1890s: the incarnation as a doctrine revealing the brotherhood of humanity; the Church's need to recognize and minister to the poor; and the Church's call to send out its adherents to end ‘social abuses’ and achieve ‘moral victories’. These three core Christian Socialist beliefs were applied in Andrews's thought and achievements during the second half of his life, in the colonial contexts of India, South Africa and Fiji. By comparing his thought and activity with perceptions of empire traceable among contemporary Anglican Christian Socialists, Andrews's colonial career is found to have enabled Anglican social thought to take on a global frame of reference, presaging proponents of an Anglican global social conscience later in the century.

William Henry Lang, 1874-1960

1961 ◽  
Vol 7 ◽  
pp. 146-160 ◽  
Keyword(s):  
Nineteenth Century ◽  
Medical Practice ◽  
Royal Society ◽  
Private Life ◽  
Close Friend ◽  
Long Distance ◽  
Untimely Death ◽  
Vice Chancellor ◽  
The Subject ◽  
Young Wife

The subject of this memoir did not leave any personal record with the Royal Society, but I have been fortunate in having the assistance of his niece, Mrs Margaret E. Franklin; Professor T. B. L. Webster, who was a close friend for the last 25 years of W. H. Lang’s life; the late Lord Stopford, who was also a close friend and was Vice-Chancellor of Manchester University during the last seven years of Lang’s tenure of the Chair of Cryptogamic Botany, and Professor Wardlaw, who succeeded to that Chair when Lang retired. To all these I wish to acknowledge my indebtedness for their unstinted help which was the more valuable since Lang was not one who talked about himself and, indeed, was rather uncommunicative about his private life. W. H. Lang’s father was Thomas Bisland Lang, the son of William and Joan Lang who were married in 1825 and lived at Bridge-of-Weir, Renfrewshire. This couple had a typically large nineteenth century family of eleven children of whom Thomas Bisland was the youngest but one. A brother and a sister died in infancy, as was so frequent at that epoch, but Thomas’s sister Margaret lived to the age of 89 whilst his sister Mary lived to be 80, which, despite the fact that all but one of William Henry’s brothers died before they were 30, indicated that the stock was not potentially deficient in physical stamina. Nevertheless Thomas himself died at the age of 34, only two years after the birth of William Henry. The Baptismal Register records that our subject was born on 12 May 1874 at Withyham, Groombridge, Sussex. It was to this place that William’s father had come as a doctor with his young wife to establish a medical practice. After the untimely death of his father, the young baby and his mother returned to live at Bridge-of-Weir. Thus William was brought up in what must then, nearly 90 years ago, have been quite rural conditions for, even to-day, Bridge-of-Weir has a population of only just over 3000 inhabitants. The nearest city to their home was Glasgow, 14 miles away, a long distance when the only alternative to walking was a horse-drawn conveyance, since bicycles were a rarity till the close of the century.

Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms

2021 ◽  
pp. 1-28
Author(s):  
William Horne
Keyword(s):  
Nineteenth Century ◽  
Chamber Music ◽  
Johannes Brahms ◽  
Close Friend ◽  
Chamber Works ◽  
String Quintet ◽  
Joseph Joachim ◽  
Formal Design ◽  
Similar Elements

Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design. The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements. It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.

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