Academic literature on the topic '19th-century Lied'
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Journal articles on the topic "19th-century Lied"
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Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.
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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.
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Marković, Tatjana. "Serbian Romantic Lied as Intersection of the Austro-Hungarian and Serbian (con)texts." Musicological Annual 42, no. 2 (2006): 99–103. http://dx.doi.org/10.4312/mz.42.2.99-103.
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The authoress focuses on detecting Viennese cultural influences of the second half of the 19th century upon the composing of Josif Marinković’s solo song, the culture in which he educated himself, and on revealing elements characteristic of Serbian culture within which he composed.
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Dembeck, Till. "Heute sprechen. Literatur, Politik und andere Sprachen im Lied (Herder, Alunāns, Barons)." Interlitteraria 26, no. 1 (2021): 31–48. http://dx.doi.org/10.12697/il.2021.26.1.4.
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Speaking Today. Literature, Politics and Other Languages in Songs (Herder, Alunāns, Barons). This article claims that the politico-cultural relevance of literary texts in their respective present consists, among other aspects, of their handling of linguistic diversity. As examples, it presents three 18th and 19th century publications from the German and/or Latvian speaking territories which put (folk) songs into the centre of their rather different politicocultural endeavours. Herder’s collection of folk songs from 1778/79 is read as an attempt at a poetic new beginning that makes use of linguistic diversity qua translation in order to inspire originality in the ‘mother tongue’. The folk songs here serve to synchronise and dynamise linguistic means in the name of a new literature. The Dseesmiņas (‘little songs’), a collection of translations of European poetry into Latvian published by Alunāns in 1856, combines precisely this claim to renewal with an attempt at an anti-colonial synchronisation and modernisation of the Latvian language. Eventually, the six-volume collection of Latwju Dainas (Latvian folk songs), published by Barons around 1900, takes up Herder’s efforts to preserve folk songs. Barons synchronises a dialectally, materially and historically diverse corpus of songs in the name of anti-colonial emancipation. In terms of cultural policy, his project aims to give presence to pre-modern folk life under the conditions of modernity.
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Kalavszky, Zsófia. "Transformations of a Ukrainian song in Hungarian territories during the first half of the 19th century." Slavic Almanac, no. 1-2 (2021): 420–51. http://dx.doi.org/10.31168/2073-5731.2021.1-2.4.06.
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In my study I examine through what channels the Ukrainian song “Ïhav kozak za Dunaj” reached Czech and Hungarian territories through German mediation at the beginning of the 19th century. In the German-speaking territories, the Ukrainian song was spreading in German almost like a folk song. “Schöne Minka”, a Christophor Tiedge’s adaptation of the Ukrainian song, which differs significantly from the original, probably reached the territory of the Czech Crown and later the Kingdom of Hungary in the 1810s with the soldiers participating in the Napoleonic wars. A decade later, another version of the Ukrainian song much closer to the original appeared in the Czech and Hungarian territories. In Czech this version was published by František Čelakovský in 1822, and we owe the creation of the Hungarian version to Count Ferenc Teleki. Teleki did not work with Russian or Ukrainian sources, he translated the Ukrainian song into Hungarian with the help of a German translation. This text mediating between Ukrainian and Hungarian is Theodor Körner’s translation “Russisches Lied”. At the same time, Teleki’s translation is especially exciting for Russian and Hungarian literature since it shows surprising correspondences with Wilhelm Küchelbecker’s text “Der Kosak und das Mädchen” (1814), which is also a translation of the Ukrainian song.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Ryazanov, Sergey M. "THE FORMATION AND DEVELOPMENT OF THE POLICE IN THE FACTORY SETTLEMENTS OF THE URAL IN THE SECOND HALF OF THE 19TH CENTURY." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 93–113. http://dx.doi.org/10.21684/2411-197x-2020-6-2-93-113.
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The local Ural material on the 19th century police has attracted researchers only since the second half of the 1990s. Yet, it mainly concerned the South Ural, as special studies in the Middle Ural and in the Vyatka Ural have not been carried out. This article aims to fill in this lacuna. The object of this study is the transformation of the factory police in the 19th century. The relevance of this topic for historical science lies in the active character of the processes, associated with modernization, and the timeliness of the police reform. To study this, the author has used such historical methods, as historical-genetic, historical-comparative, and historical-typological. This article has examined the measures taken by the authorities of the Urals to improve the police supervision of factory settlements in the second half of the 19th century. The author has compared the pre-reform and new police states, emphasizing the development of the Izhevsk and Votkinsk factory settlements police. The results show that the slowness in carrying out police reforms led to an increase in unrest and crime in factories. The redistribution of local police resources, intended for the countryside, to the cities and factories of the Ural could somewhat mitigate the negative consequences of the inaction of the central government. Thus, the liquidation of the mountain police in the middle of the 19th century significantly weakened police forces in factory settlements, which were restored only in the 1890s.
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Khairlapova, Marina Marksovna. "The Role of the Baskunchak Railway in the Development of the Salt Industry in the Astrakhan Governorate During the Second Half of the 19th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 159–73. http://dx.doi.org/10.7256/2454-0609.2020.2.32327.
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The research subject of this article is the salt industry in the Astrakhan Governorate during the second half of the 19th century. The article's research object is the role of the Baskunchak railway in the development of the salt industry in the Astrakhan Governorate during the second half of the 19th century. The chronological framework of this study encompasses the period from the second half of the 19th century, when precisely at this time the government policy changed to the state reorganization of the entire railway system in Russia in the reign of Alexander II, and later in the reign of Alexander III, on the discussed here example, construction and operation of the Baskunchak railway. The author provides a detailed comprehensive analysis of the advantages and disadvantages of transporting salt along the Baskunchak railway compared with transportation by oxen, which leads to the affirmation that after its opening this railway became the most important economic artery in Russia. This work uses the problem-chronological method, the historical-descriptive method, the historical-comparative and historical-systemic methods. The novelty of this study lies in its detailed elaboration of a previously unstudied direction, such as the influence of the new railway on the development of the salt industry in the Astrakhan Governorate during the second half of the 19th century.The role of the Baskunchak railway in the growth of the salt industry in the Astrakhan Governorate during the second half of the 19th century is indisputable. The railway connecting Lake Baskunchak with Port Vladimir has opened the most reliable and convenient form of transport. The materials used in this work are relevant for use in university education processes in the Astrakhan region for teaching general and specialized courses in Russian history and other related disciplines.
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Agrawal, Niruj, Simon Fleminger, Howard Ring, and Shoumitro Deb. "Neuropsychiatry in the UK: planning the service provision for the 21st century." Psychiatric Bulletin 32, no. 8 (2008): 303–6. http://dx.doi.org/10.1192/pb.bp.107.018432.
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Some believe that Cartesian dualism of mind and body in the 19th century and the rise of psychoanalysis by the turn of the 20th century was what led to the separation of neurology and psychiatry. More recently, conceptualisations of the mind/brain paradigm have helped rediscover the relationship between the mind and the brain, bringing renewed synergy between neurology and psychiatry (Cunningham et al, 2006). However, division is still apparent in current service planning and provision in the UK for individuals whose presentation lies in the no-man's-land between these two historical domains.
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Nardi, Antonio Egidio. "Some notes on a historical perspective of panic disorder." Jornal Brasileiro de Psiquiatria 55, no. 2 (2006): 154–60. http://dx.doi.org/10.1590/s0047-20852006000200010.
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This article aims to describe important points in the history of panic disorder concept, as well as to highlight the importance of its diagnosis for clinical and research developments. Panic disorder has been described in several literary reports and folklore. One of the oldest examples lies in Greek mythology - the god Pan, responsible for the term panic. The first half of the 19th century witnessed the culmination of medical approach. During the second half of the 19th century came the psychological approach of anxiety. The 20th century associated panic disorder to hereditary, organic and psychological factors, dividing anxiety into simple and phobic anxious states. Therapeutic development was also observed in psychopharmacological and psychotherapeutic fields. Official classifications began to include panic disorder as a category since the third edition of the American Classification Manual (1980). Some biological theories dealing with etiology were widely discussed during the last decades of the 20th century. They were based on laboratory studies of physiological, cognitive and biochemical tests, as the false suffocation alarm theory and the fear network. Such theories were important in creating new diagnostic paradigms to modern psychiatry. That suggests the need to consider a wide range of historical variables to understand how particular features for panic disorder diagnosis have been developed and how treatment has emerged.
Dissertations / Theses on the topic "19th-century Lied"
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Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.
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xi, 387 p.<br>A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006<br>The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed.
The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments.
The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.<br>Adviser: Dr. Anne Dhu McLucas
Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
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Salgado, Antonio G. "Vox phenomena : a psycho-philosophical investigation of the perception of emotional meaning in the performance of solo singing (19th century German lied repertoire)." Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275087.
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Crochu, Mariette. "L’Atelier du lied romantique : poétique de la ballade de la Goethezeit." Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20022.
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Lorsque l’on se penche sur les poèmes appelés ballades, objets d’une furieuse vogue dans le monde germanique depuis le Sturm und Drang, on se heurte partout à l’absence d’accord sur ce qui fait leur spécificité. C’est en partie dans cet espace poético-musical protéiforme qu’est forgé le lied romantique. Franz Schubert (1797-1828) passe ses premières années de compositeur à mettre en musique de longues ballades, et y revient jusqu’à la fin de sa vie ; Carl Loewe (1796-1869) passe maître de cet art. La ductilité du genre, sa résistance aux tentatives de définition sur le double terrain des lettres et de la musique (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) mettent en péril sa propre pérennité, mais font aussi de lui un extraordinaire terrain d’expérimentation pour la lyrique musicale en effervescence. Il entre en résonance avec bien des enjeux de la musique du XIXe siècle, parmi lesquels la pratique orale des interprètes, récitants et chanteurs, la question de la narration musicale, et les passerelles entre musique de salon et scène lyrique, entre domaine vocal et domaine instrumental. Cette thèse souhaite contribuer à éclairer le devenir du Kunstlied à travers le prisme d’un de ses lieux privilégiés d’élaboration. Avec la ballade, cet étrange hybride de récit sans conteur identifiable, de drame sans scène et de musique, les dimensions du traditionnel Lied germanique s’élargissent jusqu’à l’émergence du Kunstlied ; mieux, elle fait d’entrée de jeu éclater l’unité émotionnelle de ce dernier. Notre recherche retrace ce parcours imprévisible et les questions qu’il soulève, pour mieux comprendre, non pas l’objet abouti que serait « le lied romantique », mais plutôt le passionnant travail de création artistique, le progressif modelage d’un objet musical, entre-deux des genres, dans ses multiples formes au fil du temps<br>When we look at the poems called ballads, which have been furiously popular in the Germanic world since the Sturm und Drang, we encounter a general lack of agreement on their specificity. The Romantic Lied was partly forged in this multifaceted poetic-musical space. Franz Schubert (1797-1828) spent his early composing years setting long ballads to music, and was to return to do so until the end of his life; Carl Loewe (1796-1869) became a master of this art. The ductility of the genre and its resistance to all attempts at defining it in the two fields of literature and music (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) jeopardize its own durability, but also make it an extraordinary experimental field for the vibrant musical lyricism. It is in tune with many of the issues at stake in 19th-century music, including the vocal practice of performers, reciters and singers, the issue of musical narration, and the connections between salon music and lyric stage performance, between the vocal and instrumental realms. This dissertation attempts to shed light on the becoming of Kunstlied through the prism of one of its key development settings. The ballad, a strange hybrid of storytelling without an identifiable storyteller, of music and stageless drama, broadens the dimensions of the traditional German Lied until the emergence of Kunstlied; better still, it shatters the emotional unity of the latter from the outset. Our research retraces this unpredictable process and the questions it raises, in order to better understand not the accomplished object that would be “the romantic Lied”, but rather the exciting work of artistic creation, the progressive modelling of a musical object, between the genres, in its multiple expressions over time
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Cosgrave, Isabelle Marie. "'White lies' : Amelia Opie, fiction, and the Quakers." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/18686.
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This thesis offers a reconsideration of Amelia Opie’s career as a novelist in the light of her developing religious allegiances over the period 1814-1825 in particular. In twentieth-century scholarship, Opie (1769-1853) was often treated primarily as the author of Adeline Mowbray (1805) and discussed in terms of that novel’s relationship with the ideas of Wollstonecraft and Godwin. Recent scholarship (Clive Jones, Roxanne Eberle, Shelley King and John B. Pierce) has begun a fuller assessment of her significance, but there is still a need for a thorough discussion of the relationship between her long journey towards the Quakers and her commitment to the novel as a moral and entertaining medium. Many scholars (Gary Kelly, Patricia Michaelson, Anne McWhir and others), following Opie’s first biographer Cecilia Lucy Brightwell (1854), have represented Opie as giving up her glittering literary career and relinquishing fiction-writing completely: this relinquishment has been linked to Quaker prohibitions of fiction as lying. My thesis shows that Quaker attitudes to fiction were more complicated, and that the relationship between Opie’s religious and literary life is, in turn, more complex than has been thought. This project brings evidence from a number of sources which have been overlooked or under-utilised, including a large, under-examined archive of Opie correspondence at the Huntington Library, Opie’s last novel Much to Blame (1824), given critical analysis here for the first time, and the republications which Opie undertook in the 1840s. These sources show that Opie never abandoned her commitment to fiction; that her move to the Quakers was a long and fraught process, but that she retained a place in the fashionable world in spite of her conversion. My Introduction gives a nuanced understanding of Quaker attitudes to fiction, and the first chapter exposes the ‘white lies’ of Opie’s first biographer, Brightwell, and their legacy. I then move on to examine Opie’s early works – Dangers of Coquetry (1790), “The Nun” (1795) and The Father and Daughter (1801) – as she flirts with radicalism in the 1790s, and Adeline Mowbray is explored through a Quaker lens in chapter 3. I juxtapose Opie’s correspondence with her Quaker mentor Joseph John Gurney and the celebrated writer William Hayley with her developing use of the moral-evangelical novel – Temper (1812), Valentine’s Eve (1816) and Madeline (1822) – as Opie was increasingly attracted to the Quakers. Chapter 5 analyses Opie’s anonymous novels – The Only Child (1821) and Much to Blame (1824) – alongside her Quaker works (especially Detraction Displayed (1828)) around the time of her official acceptance to the Quakers (1825). The final chapter investigates how Opie balanced her Quaker belonging with her ongoing commitment to fiction, exemplified in her 1840s republications, which I present in the context of her correspondence with publisher friends Josiah Fletcher and Simon Wilkin, and with Gurney. Opie’s ‘white lies’ of social negotiation reveal her difficulties in maintaining a literary career from the 1790s to the 1840s, but her concerted effort to do so in spite of such struggles provides a highly significant insight into the changing religious and literary climates of this long period.
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Hayek, Katia. "Folklore, surnaturel et réalité dans quelques romans français et tchèques de la postérité "gothique" au premier XIXe siècle : ètude du lien entre la construction imginaire et l'historicité." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H053.
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Folklore, surnaturel et réalité, la formulation peut surprendre, mais la confrontation est féconde. Si le lien entre le folklore et le surnaturel semble, pour une part, évident dans le roman populaire de la postérité gothique au début du XIXe siècle, le franchissement des frontières du réel et de l’irréel couramment admises à propos de l'écriture du fantastique ou du merveilleux, invite à reconsidérer ces registres dans leur rapport au vraisemblable. Comment le folklore surnaturel peut-il avoir quelque chose à dire du réel et donc, de l’Histoire humaine ?La perspective comparatiste qui domine l’étude de quelques romans populaires français et tchèques, caractéristiques du romantisme noir, éclaire le fonctionnement des motifs folkloriques à l’intérieur des trames romanesques. Au-delà des fonctions ornementales et divertissantes qui lui sont ordinairement attribuées, la trace du folklore cristallise les tensions inhérentes aux intrications de la construction imaginaire et du réel. Support de l’inspiration auctoriale et de son originalité, la présence continue du folklore dans ces ouvrages qui relèvent du surnaturel, conduit à une réévaluation du cadre générique lié à la sur-nature et à la reconsidération de la relation de ces romans à l’historicité. Ces œuvres dites populaires, à destination d'un public dont on prétend qu'il ne l'est pas moins ont aussi à dire un présent à leurs contemporains. L'écriture du surnaturel, dans ces ouvrages du premier fantastique héritier de la Gothic romance, dissimule finalement plus d'un discours subversif : social, politique mais aussi intime et esthétique<br>Folklore, supernatural and reality, the combination of these words may surprise, but the confrontation is fruitful. The link between folklore and the supernatural seems, in part, evident in the popular novel of Gothic romance posterity at the beginning of the nineteenth century. Therefore, crossing the borders of the real and the unreal, commonly accepted in fictitious writing included supernatural, invites us to reconsider the category of the fantastic, and its vocation to entertain, in their relation to the vraisemblance. How may the supernatural folklore have something to say about the real and therefore, about human history?The comparative perspective that dominates the study of some popular French and Czech romances, which are inherited of the Gothic romances, emphasizes the functioning of folkloric motifs within the fictional frameworks. Beyond the ornamental and entertaining functions that are usually attributed to them, they crystallize the tensions that exist between the fictional construction and reality. Supporting the authors’ inspirations and their originality, the continuous presence of folklore in these narratives, leads to a reassessment of the generic framework related to the supernatural and reconsideration of the relationship of these fictions to the historicity. These so-called popular works, destined for a public which is claimed to be no less so, also illustrates contemporaneous time. The writing of the supernatural finally conceals more than one subversive discourse: social, political but also intimate and aesthetic
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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." 2020. https://slub.qucosa.de/id/qucosa%3A72647.
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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Du, Plessis Sandra Elizabeth. "Exploding the lie : 'angelic womanhood' in selected works by Harriet Martineau, Anne Bronte, Charlotte Bronte and George Eliot." Diss., 1997. http://hdl.handle.net/10500/18635.
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Each of these novelists, in her own way, presents a critique of the idealised
woman of the nineteenth-century. My aim in this dissertation is to reveal the
degree to which each is successful in her mission to 'explode the lie' of angelic
womanhood, and, in so doing, free her long-incarcerated Victorian sisters.
It took great courage and fortitude to utter at times a lone dissenting voice; and
female writers of the present owe a great debt of gratitude to their pioneering
Victorian counterparts, who cleared the way for them to take up the banner and
continue the march towards female liberation from a stifling ideology.<br>English Studies<br>M.A. (English)
Books on the topic "19th-century Lied"
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Shave, Barbara J. My dear Aunt Martha: A 19th century American epic from the letters of those who lived it. Barbara J. Shave, 2011.
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The power of lies: Transgression in Victorian fiction. Cornell University Press, 1994.
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B, Thomson David. The sea clearances: How the descendants of the people who lived through the land clearances of the 19th century face the new clearances from the sea. Inter-Ed Ltd., 2002.
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McCallum, Val. Pitleoch Robertsons: An account of four families who lived in the Strathbraan area of the parish of Little Dunkeld in the county of Perthshire, Scotland in the 19th century. Val McCallum, 2000.
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Sex, lies, and autobiography: The ethics of confession. University of Virginia Press, 2006.
Find full textBook chapters on the topic "19th-century Lied"
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Laurìa, Antonio, Valbona Flora, and Kamela Guza. "Three villages of Përmet: Bënjë, Kosinë and Leusë." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-175-4.01.
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Part I of the book focusses on three villages in the Municipality of Përmet: Bënjë, Kosinë and Leusë. Bënjë, which lies entirely within the "Bredhi i Hotovës - Dangëlli" National Park, has undergone anthropization processes since prehistoric times. Due to its landscape and architectural value, it was recognised in 2016 as a “historical centre” and as such has come under the protection of the National Institute for the Cultural Heritage. There is little information concerning the history of Kosinë. The inhabitants show a strong connection with the Byzantine Church of the Dormition of Mary, but regrettably, it was impossible to go back to the origins of the current settlement. The village of Leusë, instead, existed before 1812, the year in which the Church of the Dormition of Mary was built. Today, the image of the village is a consequence of the partial reconstruction occured after the severe damage suffered during World War II. In the first chapters, the importance of the intangible heritage is stressed. Përmet’s food heritage is well-known on a national scale for its typical products (spirits, fruit preserves, dairy, meat, honey and bakery products), which result from the favourable climatic conditions and the rich biodiversity of the area. The tradition of the Tosk iso-polyphony, the hospitality of Përmet inhabitants and their historical devotion to religion, knowledge and study emerge with great strength together with the craftsmanship traditions and the exceptional skills of the itinerant and seasonal master builders. In the following chapters, the multiple aspects of the tangible heritage are analysed. The landscape in Përmet includes a vast variety of habitats, which have preserved to a large extent their original qualities. It is deeply marked by the Vjosa River and other several minor watercourses that crisscross the territory. A special attention is given to the historical built heritage of the villages, and specifically to three architectural assets (all listed as category I Cultural Monuments): the Katiu Bridge in Bënjë (an Ottoman bridge of the 18th century), the Church of the Dormition of Mary in Leusë (a Post-Byzantine building of the 19th century), and the Church of the Dormition of Mary in Kosinë (a Byzantine building of the end of the 12th century). For each of the aforementioned issues, the theoretical and historical analysis are closely bound to an evaluation of those features of the cultural heritage that could be enhanced to guarantee a sustainable tourism development of the area. Each chapter ends with a consistent set of specific intervention strategies. They are substantive tools for action aimed at public and private local actors.
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Artoni, Daniele. "Un caucasologo russo nella Georgia post-rivoluzionaria." In Eurasiatica. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-279-6/007.
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This study explores the life and scientific production of M.A. Polievktov, a Russian historian who lived and worked in post-revolutionary Georgia. His research focused on the historical relations between Russia and the Caucasus, especially those who led to the conquest of the Caucasus in the 19th century, and on the European travellers who visited the Caucasus. Analysis held on his autobiography, his publications, and his manuscripts will lead to trace a neater profile of his personality and his status of Russian historian living in the Georgian RSS.
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Pammer, Michael. "Wachstum und Verteilung." In Niederösterreich im 19. Jahrhundert, Band 1: Herrschaft und Wirtschaft. Eine Regionalgeschichte sozialer Macht. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh01.24.
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Income Growth and Distribution. This chapter describes economic growth and the distribution of income and wealth. Data on income are available from the last years of the 19th century onwards, whereas data on wealth are available for the entire century. Of all the Austrian lands, Lower Austria had the highest productivity, the earliest shift from agriculture to other sectors, and the largest wealth. It is a prime example of regions where the income distribution tends to widen from the beginnings of modern economic growth onwards. From the turn of the century on, however, the distribution tends to narrow again. The main reason for these changes lies in the differences in distribution structures between agriculture and the other sectors. Changes in income differentials between branches, or groups in the vertical order of branches, have less impact. The same pattern (growing inequality when a region is more developed) is also visible in synchronous comparisons between regions in different stages of economic development.
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Greco, Albert N. "The Product and Pricing of Scholarly Books." In The Business of Scholarly Publishing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190626235.003.0004.
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Scholarly book publishing and printing has a long tradition, starting with Oxford University Press (1478) and Cambridge University Press (1584). The American colonies, and later the United States, lived in the shadow of these two great presses. While many of the US presses today are quite large, with global operations, they were, in the late 19th century and the early years of the 20th century, far from the professional operations of today. This chapter gives an introduction to book history in the United Kingdom and the United States with an emphasis on university presses and competition from commercial publishers for authors, readers, and sales. It provides a review of substantive market drivers, revenues, new title output, and production costs. A sample book contract and profit and loss statement (for a hardcover and digital book) are presented and analyzed.
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Huws, Daniel. "Edmund Boleslaw Fryde 1923–1999." In Proceedings of the British Academy, Volume 120, Biographical Memoirs of Fellows, II. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197263020.003.0006.
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Edmund Fryde liked to dwell on the quirks of fate. It was a game. He liked to explain how by some round-about chain of causation you, his friend, came to be where you were because of some long-past chance action on his part. That Edmund himself, the gifted Jewish boy of cosmopolitan upbringing from Warsaw, should have spent over fifty years of his life in Aberystwyth, resigned to having been stranded there and, in his later years, increasingly content with his fate, was not to be predicted. For much of his time at Aberystwyth he was active in the affairs of the College, as a member of the Senate, on the Finance Committee, the Library Committee, acting as secretary of the Staff House. Edmund was also an inspirational teacher. In the lecture theatre, as in conversation, he had a remarkable ability to bring characters to life. His lectures on subjects outside his specialities, subjects upon which he never wrote, were as gripping as any. Apart from art, these included 18th-century French history — Edmund was in essence a child of the Enlightenment — and 19th- and 20th-century Russian history.
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Krutova, Marina S. "Information on the study of ancient Slavic monuments of writing in the mid-19th century in the correspondence of Spiridon Palauzov and Aleksey Viktorov." In Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2-465-479.
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Letters of 1869–1872 of the famous figure of the Bulgarian Renaissance Spiridon Nikolayevich Palauzov to the outstanding researcher and collector of manuscript books Aleksey Yegorovich Viktorov, stored in the Russian State Library’s manuscripts department, are published in full for the first time. The value of these epistolary documents for Russian and Slavic literature of the 19th century lies in the fact that they contain little-known information on the history of research, attribution and publication of handwritten monuments such as “The Life and Praise of Saint Philothei of Athens”, “The Commendation of Saint Euthymius of Tarnovo” by Gregory Tsamblak, the Service of Holy Venerable Theodosius of Tarnovo, and the writings of Saint Clement of Ohrid and Tsar Simeon I the Great, the Great Menaion Reader was compiled in the 1530s–1540s under the supervision of Metropolitan Macarius of Moscow, etc. An introductory article gives a brief description of the letters. The text of the epistolary documents is provided with historical, literary and real commentary.
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Gąsowski, Tomasz. "Idea niepodległości w powojennej Polsce." In Horyzonty wolności. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374388320.04.
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The Polish idea of independence was formed in the first half of the 19th century. It al-lowed the Poles to durably survive the time of the partitions and was short-lived in the autumn of 1918. The Poles then started with enthusiasm to build from scratch a modern state, the Poland Reborn. This idea motivated them to fight against the German and Soviet invasion in 1939 and continued resistance during the Second World War. In time the com-munist slavery after 1945, it survived in the collective memory of the Poles and was passed on to future generations. It was an important inspiration for some of the opposition circles operating in Poland since 1976. She prepared the ground for receiving the papal message to the Poles during his first pilgrimage to the Fatherland. It contained a call to responsible freedom, including also the right of the nation independent existence. His fulfillment took place equally ten years, in 1989, thanks to the Solidarity movement.
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Hedberg Olenina, Ana. "The Pulse of Film." In Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.003.0006.
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Chapter 5 considers psychophysiological efforts to assess the emotional responses of filmgoers by photographing their facial reactions and registering changes in their vital signs. These studies were done in the USSR for the purpose of raising the effectiveness of film propaganda among proletarian, rural, and juvenile audiences, and in the United States, for identifying crowd-pleasing narrative formulae. The chapter juxtaposes spectator tests conducted by the inventor of the polygraph lie detector, William Moulton Marston, for Universal Studios in Hollywood with analogous initiatives launched by various agencies under the jurisdiction of the Narkompros (a Soviet ministry for education and propaganda). I further trace the roots of these empirical methods to late 19th-century trends in physiological psychology, when chronophotography served alongside the kymograph for obtaining indexical records of corporeal processes that were thought to reflect the workings of the psyche. Offering a critical reading of this legacy, the chapter shows how these spectator studies replicated the universalist fallacies of biologically oriented psychology, in addition to strengthening a patronizing attitude toward the subjects of research: women, children, and illiterate peasants.
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Cantor, Brian. "Fick’s Laws." In The Equations of Materials. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851875.003.0007.
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Atoms and molecules are not completely immobile within a solid material. They move by jumping into vacancies or interstitial sites in the crystal lattice. The laws describing their motion were discovered by Adolf Fick in the mid-19th century, modelled on analogous laws for the flow of heat (Fourier’s law) and electricity (Ohm’s law). According to Fick’s first law, the rate at which atoms move is proportional to the concentration gradient, with the diffusion coefficient defined as the constant of proportionality. Fick’s second law generalises the first law to a wide range of situations and is called the diffusion equation. This chapter examines a number of characteristic diffusion profiles; the difference between self, intrinsic, inter- and tracer diffusion coefficients; the Kirkendall effect and porosity formation when different components move at different speeds; and the Arrhenius temperature dependence of diffusion. Fick was a physiologist and derived his laws initially to describe the flow of blood through the heart. He made advances in anatomy, physiology and medicine, developing methods of monitoring blood pressure, muscular power, corneal pressure and glaucoma. He lived at the time of Bismarck’s post-Napoléonic unification of Germany and the associated flowering of German science, engineering, medicine and culture.
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Cook, Peter J., and Chris M. Carleton. "Introduction." In Continental Shelf Limits. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195117820.003.0005.
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As pointed out in the Foreword, the United Nations Convention on the Law of the Sea (the Convention) is, by any measure, a remarkable document, which for the first time provides a comprehensive framework of governance for a large part of the world ocean. It covers such issues as delimitation, environmental impact and management, scientific research, economic and commercial issues, and technology transfer and provides a regime for the peaceful settlement of disputes. The resolution of disputes is especially important, given that there are 151 coastal States, all with sovereign rights to the adjacent seas and shelf. Under the Convention, those rights cover a total area of about 60 million km2 or around 20% of the world ocean within the 200-nauticalmile (M) limit. But there is perhaps an additional 5% (15 million km2) which lies beyond the 200-M limit, to which sovereign rights may also extend under the terms of the Convention. Up to 54 coastal States may be able to claim extensions of their continental shelf beyond 200 M (figure 1.1). What is intended is that over the next 10 years or so, nations will document and lay claim to an area of around 75 million km2, equal to more than half the Earth's land surface. Viewed against the background of human history and land conquest extending over thousands of years, the magnitude of the undertaking is extraordinary. What is also remarkable is the key role that science and technology will play. Science and technology have always played a role in exploration and documentation of the oceans in the past. The development of an accurate chronometer by Harrison in the 18th century was critical to developing an accurate means of establishing longitude (Sobel, 1995). This in turn made it possible to accurately chart the oceans for the first time, which then enabled nations to lay claim to newly explored areas, establish trade routes, document marine hazards, and exploit ocean resources. Parts of the world's territorial sea baselines are and will continue to be based on 19th-century data. As will be evident from this book, such data are sufficiently important in some areas that we have felt it necessary to document just how those "historical data" were gathered so that we can establish their reliability.
Conference papers on the topic "19th-century Lied"
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Sprau, Kilian. "„Wozu die Mühe?“ Über Begleiterlizenzen und ihr Schwinden aus der Auführungspraxis des Kunstlieds. Mit Tonträgeranalysen zu Richard Strauss, „Zueignung“ op. 10 Nr. 1." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.86.
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A performance tradition stemming from the 19th century permitted lied accompanists to deviate considerably from the notated score when a flexible reaction to concrete performance situations was necessary. In this article some of these ‘accompanist’s licences’, as well as their decreasing acceptance in 20th century’s performance style, are described according to written sources. A comparative analysis of recordings of the lied “Zueignung” op. 10 No. 8 by Richard Strauss illustrates exemplarily the decline of ‘accompanist’s licences’ during the decades after 1900. Finally, the results are interpreted against the background of general developments in musical performance style.
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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.
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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Günther, Martin. "Liedbegleitung und künstlerische Identität. Zur Zusammenarbeit Clara Schumanns mit Julius Stockhausen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.84.
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Clara Schumann’s impact on the history of piano playing and the development of 19th century concert life can hardly be denied. But understanding her pianistic career in terms of the work of a modern soloist covers the fact that she actually spent a large amount of time on stage not alone but performing together with colleagues. Taking a closer look at Clara Schumann’s collaboration with the baritone Julius Stockhausen, this article provides special insight into this field of her professional life: In addition to uncovering the contexts of collective concert programming and its reception it sheds light on the evolution of the Lied accompanist’s artistic identity in general and Clara Schumann’s specific ideal of communicating through musical performance.
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D’Sena, Peter. "Decolonising the curriculum. Contemplating academic culture(s), practice and strategies for change." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.13.
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In 2015, students at the University of Cape Town called for the statue of Cecil Rhodes, the 19th century British coloniser, to be removed from their campus. Their clarion call, in this increasingly widespread #RhodesMustFall movement, was that for diversity, inclusion and social justice to become a lived reality in higher education (HE), the curriculum has to be ‘decolonised’. (Chantiluke, et al, 2018; Le Grange, 2016) This was to be done by challenging the longstanding, hegemonic Eurocentric production of knowledge and dominant values by accommodating alternative perspectives, epistemologies and content. Moreover, they also called for broader institutional changes: fees must fall, and the recruitment and retention of both students and staff should take better account of cultural diversity rather than working to socially reproduce ‘white privilege’ (Bhambra, et al, 2015) Concerns had long been voiced by both academics and students about curricula dominated by white, capitalist, heterosexual, western worldviews at the expense of the experiences and discourses of those not perceiving themselves as fitting into those mainstream categories (for an Afrocentric perspective, see inter alia, Asante, 1995; Hicks & Holden, 2007) The massification of HE across race and class lines in the past four decades has fuelled these debates; consequentially, the ‘fitness’ of curricula across disciplines are increasingly being questioned. Student representative bodies have also voiced the deeper concern that many pedagogic practices and assessment techniques in university systems serve to reproduce society’s broader inequalities. Certainly, in the UK, recent in-depth research has indicated that the outcomes of inequity are both multifaceted and tangible, with, for example, graduating students from Black, Asian and Minority Ethnic (BAME) backgrounds only receiving half as many ‘good’ (first class and upper second) degree classifications as their white counterparts (RHS, 2018). As a consequence of such findings and reports, the momentum for discussing the issues around diversifying and decolonising the university has gathered pace. Importantly, however, as the case and arguments have been expressed not only through peer reviewed articles and reports published by learned societies, but also in the popular press, the core issues have become more accessible than most academic debates and more readily discussed by both teachers and learners (Arday and Mirza, 2018; RHS, 2018). Hence, more recently, findings about the attainment/awarding gap have been taken seriously and given prominence by both Universities UK and the National Union of Students, though their shared conclusion is that radical (though yet to be determined) steps are needed if any movements or campaigns, such as #closingthegap are to find any success. (Universities UK, 2019; NUS, 2016; Shay, 2016)