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A major rethinking of the European novel and its relationship to early evolutionary scienceThe 120 years between Henry Fielding's Tom Jones (1749) and George Eliot's Middlemarch (1871) marked both the rise of the novel and the shift from the presumption of a stable, universal human nature to one that changes over time. In Human Forms, Ian Duncan reorients our understanding of the novel's formation during its cultural ascendancy, arguing that fiction produced new knowledge in a period characterized by the interplay between literary and scientific discourses-even as the two were separating into distinct domains.Duncan focuses on several crisis points: the contentious formation of a natural history of the human species in the late Enlightenment; the emergence of new genres such as the Romantic bildungsroman; historical novels by Walter Scott and Victor Hugo that confronted the dissolution of the idea of a fixed human nature; Charles Dickens's transformist aesthetic and its challenge to Victorian realism; and George Eliot's reckoning with the nineteenth-century revolutions in the human and natural sciences. Modeling the modern scientific conception of a developmental human nature, the novel became a major experimental instrument for managing the new set of divisions-between nature and history, individual and species, human and biological life-that replaced the ancient schism between animal body and immortal soul.The first book to explore the interaction of European fiction with "the natural history of man" from the late Enlightenment through the mid-Victorian era, Human Forms sets a new standard for work on natural history and the novel.
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›Das Wahre, Schöne, Gute‹ bildet das Leitgestirn am kulturellen Himmel vom Ende des 18. bis über das Ende des 19. Jahrhunderts hinaus. Entstanden ist die Trias im frühen 18. Jahrhundert, initiiert durch die Rezeption der platonischen Philosophie, die Debatte um den guten Geschmack und die Erweiterung der Philosophie um die Wissenschaft der Ästhetik. Während Kant und Schiller mit kritischem Bewusstsein den Zusammenhang und die Differenz des Wahren, Schönen und Guten erforschten, stand die Trias im 19. Jahrhundert als ubiquitäre Formel für das ›Höhere‹, die bürgerliche Bildungs- und Kunstreligion. Ihre Verwendung in Goethes ›Epilog zu Schillers Glocke‹ weihte sie mit beider Namen. Daran entzündete sich eine ideologiekritische und ästhetische Polemik. Fontane sah in dieser Trias nur ein Umcouren des Geldes. Für die europäische Avantgarde seit Mitte des 19. Jahrhunderts war sie Ausdruck einer banausischen Zweckentfremdung der Kunst. Der Fall der Trias begann. Ihre Anrufung war verpönt. Einher ging aber ihr stilles Fortbestehen, wie die Kunst- und Literaturkritik und die Debatten z. B. um Adornos Satz, wonach ein Gedicht nach Auschwitz zu schreiben, barbarisch sei, oder den »Fall Esra« belegen. Es geht immer noch um die Frage, ob und wie in der Erfahrung der Kunst ästhetische mit moralischen und Wahrheitsansprüchen verbunden sind.
Goethe --- Klassik --- Platonismus --- 1700 - 1899
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Focusing on Egypt during the period 1760 to 1870, this book fills in some of the historical blanks for a dance form often known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as ""belly dance."" Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed ""ethnic"" dancers and singers. Analysis
Women entertainers --- 1700 - 1899 --- Egypt.
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Censorship --- Censorship. --- History --- 1700-1899. --- Russia.
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"From the closing decades of the eighteenth century, German theology has been a major intellectual force within modern Western thought, closely connected to important development in idealism, romanticism, historicism, phenomenology, and hermeneutics. Despite its influential legacy, however, no recent attempts have sought to offer an overview of its history and development. The Oxford History of Modern German Theology, Volume I: 1781-1848, the first of a three-volume series, provides the most comprehensive multi-authored overview of German theology from the period 1781-1848. The study covers categories frequently omitted from earlier overviews of the time period, such as the place of Judaism in modern German society, race, and religion, and the impact of social history in shaping theological debate. Rather than focusing on individual figures alone, the volume describes the narrative arc of the period by focusing on broader intellectual and cultural movements, ongoing debates, and significant events. It furthermore provides a historical introduction to each of the chronological subsections that divides the book. Moreover, unlike previous efforts to introduce this time period and geographical region, this volume offers chapters covering such previously neglected topics as religious orders, the influence of Romantic art, secularism, religious freedom, and important but overlooked scholarly initiatives such as the Corpus Reformatorum. Attention to such matters will make this volume an invaluable repository of scholarship and knowledge and an indispensable reference resource for decades to come." --
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Displaying a talent for combining aesthetic sensibility with scientific rigor, the author has given new life to something that once excited European passions: an original, non-academic art at the forefront of the 'new technology' of the time. For decades, aristocrats of the Old World and then American collectors (the latter at the end of the eighteenth and beginning of the nineteenth centuries) spent countless sums on the purchase of these works, which were worth a fortune. These wealthy collectors of curiosities of all types were also most certainly great dreamers seeking a worthy setting for their dreams. Unbeknownst to them, their endeavours had much greater scope, creating and nourishing the conditions for a rare encounter between two worlds: a golden age of atypical collaboration, a combined adventure between China and Europe.
Glass underpainting --- History --- 1700-1899 --- China.
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Este libro se ocupa de escaramuzas de retórica ideológica libradas por textos literarios. Entre estas hay intentos de persuasión basados en maniobras de extrañamiento y ostracismo a partir de la feminización, extranjerización o demonización del enemigo. A veces se produce el inopinado recurso al exilio idiomático y a la confesión íntima como estrategia textual en el debate político. La utilización de avatares de la trama amorosa y la fábula familiar, así como la dialéctica entre unidad y fragmentación en el texto y sus modos de difusión, es frecuente en estas guerrillas. También es contumaz la politización de opciones estéticas, como el realismo. Algunos de los textos de la refriega descubren el potencial de agitación ideológica de procedimientos literarios, caso de la metaliterariedad, políticamente inocuos en apariencia. El espanto taxonómico de figuras híbridas y monstruosas ocupa así mismo un lugar prominente en estas batallas. Y la inscripción, ejecución y derribo de fábricas arquitectónicas en algunos textos literarios funcionan como contrapunto de las muy aparatosas construcciones, demoliciones y quemas por causas ideológicas de edificios reales
1700-1899 --- Spain. --- Persuasion (Rhetoric) --- Rhetoric --- History.
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How objects associated with the American, French, and Haitian revolutions drew diverse people throughout the Atlantic world into debates over revolutionary ideals “By excavating the power of material objects and visual images to express the fervor and fear of the revolutionary era, Ashli White brings us closer to more fully embodied, more fully human, figures.”—Richard Rabinowitz, author of Objects of Love and Regret: A Brooklyn Story “In this important, innovative book, Ashli White moves nimbly between North America, Europe, and the Caribbean to capture the richness and complexity of material culture in the Age of Revolutions.”—Michael Kwass, Johns Hopkins University Ashli White analyzes the circulation of objects associated with the American, French, and Haitian revolutions, arguing that the ideals of the Atlantic revolutions were contested not just in texts but also through objects. She considers how, as revolutionary things traveled from one site in the Atlantic to another, they brought people into contact with these political movements in visceral, multiple, and provocative ways. Focusing on a wide range of objects with transnational reach—ceramics and furniture, garments and accessories, prints, maps, and public amusements—she draws out the political impact of material culture for diverse populations. Enslaved and free, women and men, poor, middling, and elite—all turned to objects as a means to realize their varied, and sometimes competing, visions of revolutionary change.
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German literature --- German literature. --- Günderode, Karoline von, --- 1700-1899.
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Kastratensänger standen bislang vor allem im Mittelpunkt des Forschungsinteresses der Musik- und Theaterwissenschaften. Dabei wurden vor allem ihr Wirken auf den Bühnen des italienischen Musiktheaters des 17. und 18. Jahrhunderts oder die Rezeption der hohen Männerstimme auf das barocke Publikum beleuchtet. Die vorliegende geschichtswissenschaftliche Studie konzentriert sich hingegen auf die Personen als soziale Akteure in der Spätphase dieses Phänomens im 18. und frühen 19. Jahrhundert, wobei exemplarisch vier mitteleuropäische Fürstenhöfe (Wien, München, Dresden, Stuttgart) in den Blick genommen werden.In detaillierten Analysen der Lebenswelten des Hofes und der Residenzstadt fächert die Autorin auf, welchen hohen Stellenwert Kastratensänger innerhalb der höfischen Machtrepräsentation bis zum Schluss besaßen, wie sie sich innerhalb höfischer Anstellungsstrukturen immer wieder erneut positionierten, mit den Bewohnern der Residenzstädte interagierten und welche wichtigen Rollen sie gegenüber Familienangehörigen einnahmen.Insbesondere durch die Untersuchung des individuellen Umgangs mit dem vermeintlichen körperlichen Defizit kann sie zeigen, dass die Annahme, Kastraten seien in der Endphase ihres Bestehens grundsätzlich als defizitäre »verstümmelte Körper« wahrgenommen worden, revidiert werden muss. Auf diese Weise leistet die Autorin einen innovativen Beitrag zur Kultur- und Geschlechtergeschichte am Übergang von der Frühen Neuzeit ins 19. Jahrhundert.
Castrati. --- Evirati --- Eunuchs --- Singers --- 1700-1899 --- Central Europe. --- Europe, Central
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