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Relevant bibliographies by topics / Ballet – History – 19th century

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Academic literature on the topic 'Ballet – History – 19th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Ballet – History – 19th century"

1

Shalygina, O. V. "Time and space in the motor aesthetics of A. Volynsky." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 100–113. http://dx.doi.org/10.17588/2076-9210.2019.4.100-113.

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The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.

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Makliuk, D. "Ivan Mazepa’s personality as a cultural symbol: historicalperforming aspects." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 61–76. http://dx.doi.org/10.34064/khnum1-55.05.

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Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.

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Edgecombe, Rodney Stenning. "Cesare Pugni, Marius Petipa and 19th-Century Ballet Music." Musical Times 147, no. 1895 (2006): 39. http://dx.doi.org/10.2307/25434382.

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Gendova, Marya Yu. "On the Reflection of the Baroque Style in the Russian Art of Ballet." ICONI, no. 3 (2021): 37–47. http://dx.doi.org/10.33779/2658-4824.2021.3.037-047.

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The article is devoted to the theme of the Baroque style on the Russian ballet scene of the end of the 19th century, and the focus of attention of this research steps over the bounds of the indicated time period, dwelling upon the reflection of Baroque subject matter on the 20th and early 21st century art of ballet. The author does not analyze the plotline basis of ballet performances and does not attempt to search for stylistic attributes of the Baroque period which would confirm the ballet’s pertaining to the Baroque era. The author determines as her main goal the aspiration to comprehend the fundamental — philosophical, value-based and spiritually significant — dominant ideas of human existence which are relevant beyond time and, hence, significant today, as well: the themes of personality, time, good and evil, stereotypes and algorithms (the theme of liberty), the theme of allusions. The author finds it important to comprehend how, conformably with the baroque worldview, they disclosed themselves in the late 19th century art of ballet (during the era of Marius Petitpas’ late productions, which was the flourishing of the Baroque style in ballet), exerting an impact on its plotline and architectonic structure. While preserving the retrospective-explorative vector of her research, the author poses the question, why do these specific concepts of the epoch’s worldview, as well as the constructive peculiarities of the baroque manner of ballet production has manifested itself in the art of 20th and 21st century ballet-masters George Balanchine and Alexei Miroshnichenko.

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Kucherenko, Anastasia L., and Nina A. Konopleva. "Adaptation of Spanish Flamenco Dance to the Cultural and Language Environment Conditions of Contemporary Russia." ICONI, no. 1 (2019): 176–83. http://dx.doi.org/10.33779/2658-4824.2019.1.176-183.

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The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the perspective of a non-bearer of flamenco culture. This classification defines the styles according to the complexity degree of perception by Russian performers. It is concluded that the most difficult for the Russians are the authentic ancient manifestations of flamenco, such as sigiriya, kanya, solea, etc., which are quite different in musical size and rhythm. The lexico-semantic analysis of certain Spanish terms and exclamations characterizing the flamenco dance was carried out. Such expressions have been adopted into the vocabulary of the Russian flamenco performers representing: zapateado, floreo, braceo, bata de cola etc. The general structure of flamenco dance is represented by means of typical positions and movements. The structure was worked out on the basis of content analyses of the Spanish film-ballets, devoted to flamenco dance. The article also analyzes the polysemy of the term “duende” – a phenomenon that has a spiritual nature and is an integral part of the flamenco art. It is concluded that the professional performance of the flamenco dance in the non-native social and cultural environment requires from a performer not only technical mastery, but also a deep understanding of the meaning of the flamenco dance, its history, as well as the semantics of some Spanish terms and expressions.

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Panova, Elena Vladimirovna. "Post-reform ballet music in the 60s of the 19th century in Russia." Interactive science, no. 9 (November 21, 2016): 22–24. http://dx.doi.org/10.21661/r-114130.

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Driel, Lodewijk van. "19th-century linguistics." Historiographia Linguistica 15, no. 1-2 (1988): 155–85. http://dx.doi.org/10.1075/hl.15.1-2.09dri.

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Summary In this paper an attempt has been made to draw a picture of linguistics in the Netherlands during the 19th century. The aim of this survey is to make clear that the influence of German linguistics on Dutch works of the period is characteristic of the development of Dutch linguistics in that century. Emphasis has been placed on the period 1800–1870; three traditions are distinguished: First of all there is the tradition of prescriptive grammar and language instruction. Next attention is drawn to the tradition of historical-comparative linguistics. Finally, by about the middle of the century, the linguistic views of German representatives of general grammar become prominent in Dutch school grammars. Successively we point to the reception by the schoolmasters of K. F. Becker’s (1775–1849) work; then Taco Roorda (1801–1874) is discussed, and the relationship between L. A. te Winkel (1809–1868) and H. Steinthal (1823–1899) is presented. In conjunction with Roorda’s work on Javanese the analysis of the so-called exotic languages is mentioned, an aspect of Dutch linguistics in the 19th century closely connected with the Dutch East Indies. It is obvious that the German theme is one of the most conspicuous common elements in 19th-century Dutch linguistics, as Dutch intellectuals in many respects took German culture as a model.

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Wilson, Robin. "19th-Century Mathematical Physics." Mathematical Intelligencer 40, no. 4 (2018): 100. http://dx.doi.org/10.1007/s00283-018-9836-0.

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Rockenbach, Stephen, and William L. Barney. "A Companion to 19th-Century America." Journal of Southern History 74, no. 4 (2008): 957. http://dx.doi.org/10.2307/27650332.

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Kahlow, Andreas. "Materials in 19th century Germany." History and Technology 7, no. 3-4 (1991): 255–66. http://dx.doi.org/10.1080/07341519108581779.

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Dissertations / Theses on the topic "Ballet – History – 19th century"

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Meisner, Nadine. "The role of Marius Petipa in the creation of Russian ballet." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283919.

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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.<br>Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance

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Osborne, Jane. "An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002028.

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Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.

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Murakami, Yumi. "De la critique à la création poétique : l'importance du ballet dans l'écriture de Mallarmé." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL094.

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Nous nous pencherons tout au long de notre thèse, sur la question de la construction poétique dans les pensées de Mallarmé concernant la Danse, et ce, à partir des modifications syntaxiques et lexicales que celui-ci a effectuées sur certaines de ses œuvres. À travers l’analyse du processus par lequel Mallarmé affinera ses pensées dans ses écrits poétiques et ses critiques de la Danse, nous essaierons de définir le rôle pris par la Danse dans la dernière partie de sa vie. Tout en cherchant à contextualiser ses critiques, nous procèderons à un examen minutieux des pièces que Mallarmé a vues et dont il a précisément établi la critique. Puis, en nous penchant sur la réécriture de texte opérée entre « Notes sur le Théâtre » et « Crayonné au Théâtre » qui se trouve compilé dans son ouvrage Divagations, nous analyserons les évolutions potentielles de ses pensées et nous tenterons d’apporter une lecture des concepts de « regard », du « voile » et de « la nudité » à travers les œuvres poétiques de Mallarmé comme L’Après-midi d’un faune ou bien Hérodiade. Au sein du genre même de la Danse, nous nous concentrerons sur la place privilégiée du Ballet chez Mallarmé et, tout en définissant la vision que celui-ci avait de cet art, nous effectuerons une interprétation de sa prose poétique. Cela nous permettra de faire ressortir le caractère novateur et profondément singulier des écrits que Mallarmé a consacrés à la Danse, et de définir finalement tout ce que cet art représentait pour lui. Le concept de la Danse chez Mallarmé sort du cadre où il est ordinairement relégué, et est défini comme quelque chose revêtant une grande valeur et une haute signification dans le processus créatif de cet auteur. Cette thèse se propose de circonscrire les passerelles et les continuités entre les poèmes et les critiques de Mallarmé, afin de tenter de bâtir la conception que celui-ci avait de la Danse<br>The question of the poetic construction in the lines Mallarmé wrote about Dance will be examined throughout this thesis from the point of view of the modifications he made on some of his works. Through the analysis of the process by which Mallarmé has been able to refine his thoughts in his poetic writings and his critics of the Dance, we will try to define the role taken by the Dance in the last part of his life. Focused on the privileged place occupied by the Ballet, we will try to give an interpretation of his poetic prose while defining the vision that Mallarmé had of this art. The highly innovative and singular nature of his writings dedicated to the Dance will be highlighted and we will be able to finally define what this art represented for him. The concept of Dance for this poet, comes out of its ordinary framework, and it is defined as something of high value and high significance in Mallarmé’s creative process. With this thesis, we will circumscribe the continuities between the poems and the critics of Mallarmé, in order to seize more precisely how he came to think about Dance the way he did

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Urista, Dawn. "Giselle's Mad Scene: A Demonstration and Comparison of 21st Century and 19th Century Paris Opéra Stagings." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11502.

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ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information.<br>This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Opéra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson's <italic>Mime.</italic> Preparations for the rehearsals, including translations, obtaining recordings of the original score, and the developments and revelations that emerged from the cast's exploration of the characters, are addressed and assessed. This research provides insight into the original nature of this Romantic ballet and reflects upon oral coaching versus restaging from a script, use and disuse of music, and interpretations and archetypes discussed in the review of literature.<br>Committee in charge: Shannon Mockli, Chairperson; Marian Smith, Member; Jenifer Craig, Member; Walter Kennedy, Member

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Mayo-Bobee, Dinah. "Shaping the Nation: Early 19th Century America." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/731.

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Pinheiro, Ligia Ravenna. "YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL'S BALLET D'ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429443828.

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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.

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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program

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Schneider, Ulrich Johannes. "Teaching the history of philosophy in 19th-century Germany." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-161196.

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What does it mean to do philosophy historically, and when does the legend of philosophy begin? When Hegel tried to give a logical explanation of philosophy's history, was he doing the same thing as Eduard Zeller in his account of Creek thought, or Kuno Fischer in his narrative of modern philosophy? l do not believe so, and I shall sugges t in the following that we should carefully differentiate between the different activities commonly referred to as the history of philosophy. I will point out the enormous productivity of the 19th century in terms of printed books devoted to the history of philosophy. I will also point to the context in which these were produced and used rather than examining individual works or authors. There is an entirely new context in the 19th century, which is the study of philosophy. A proper culture developed around the historical interest in philosophy, and it is this culture I want to sketch here.

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Schneider, Ulrich Johannes. "Teaching the history of philosophy in 19th-century Germany." Teaching new histories of philosophy / ed. by J. B. Schneewind. Princeton 2004, S. 275 - 295 ISBN 0-9763726-0-6, 2004. https://ul.qucosa.de/id/qucosa%3A12120.

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What does it mean to do philosophy historically, and when does the legend of philosophy begin? When Hegel tried to give a logical explanation of philosophy''s history, was he doing the same thing as Eduard Zeller in his account of Creek thought, or Kuno Fischer in his narrative of modern philosophy? l do not believe so, and I shall sugges t in the following that we should carefully differentiate between the different activities commonly referred to as the history of philosophy. I will point out the enormous productivity of the 19th century in terms of printed books devoted to the history of philosophy. I will also point to the context in which these were produced and used rather than examining individual works or authors. There is an entirely new context in the 19th century, which is the study of philosophy. A proper culture developed around the historical interest in philosophy, and it is this culture I want to sketch here.

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Books on the topic "Ballet – History – 19th century"

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Macdonald, Fiona. 19th century Europe: Women in History. Chrysalis, 2003.

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Phyllis, Freeman, and McKee Bob, eds. 19th-century sculpture. Abrams, 1985.

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Michael, Gibson. 19th century lustreware. Antique Collectors' Club, 1999.

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Hawkins, J. B. 19th century Australian silver. Antique Collectors' Club, 1990.

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Kalman, Bobbie. 19th century clothing. Crabtree Pub. Co., 1993.

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Kalman, Bobbie. 19th century clothing. Crabtree Pub. Co., 1993.

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Christopher, Payne, ed. 19th century European furniture. 2nd ed. Antique Collector's Club, 1989.

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Payne, Christopher. 19th century European furniture. 2nd ed. Antique Collectors' Club, 1985.

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Toledo: The 19th century. Arcadia Pub., 2004.

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Bali in the 19th century. Yayasan Obor Indonesia, 1991.

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Book chapters on the topic "Ballet – History – 19th century"

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Hall, Robert A. "19th-Century Italian." In The History of Linguistics in Italy. John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.33.11jal.

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Driel, Lodewijk van. "19th-Century Linguistics." In The History of Linguistics in the Low Countries. John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/sihols.64.10dri.

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Roberts, Adam. "Early 19th-Century SF." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_6.

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Vannatta, Seth. "The 19th Century and History." In Conservatism and Pragmatism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137466839_4.

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Gallarotti, Giulio M. "The 19th century conferences." In A History of International Monetary Diplomacy, 1867 to the Present. Routledge, 2021. http://dx.doi.org/10.4324/9781315732435-3.

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Green, Michael D., and Theda Perdue. "Native-American History." In A Companion to 19th-Century America. Blackwell Publishers Inc., 2007. http://dx.doi.org/10.1002/9780470998472.ch16.

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Kay, A. Barry. "Landmarks in Allergy during the 19th Century." In History of Allergy. S. KARGER AG, 2014. http://dx.doi.org/10.1159/000358477.

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Franco, Raquel Campos, Lili Wang, Pauric O’Rourke, et al. "Civil Society History V: 19th Century." In International Encyclopedia of Civil Society. Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_529.

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DiCristina, Bruce. "Criminology in 19th-Century France." In The Handbook of the History and Philosophy of Criminology. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119011385.ch4.

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Sawaie, Mohammed. "An Aspect of 19th-Century Arabic Lexicography." In History and Historiography of Linguistics. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.20saw.

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Conference papers on the topic "Ballet – History – 19th century"

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Ismail, Amnah Saay, B. Jalal, M. Md Saman, and Wan Kamal Mujani. "19th Century Pahang Islamic Scholars in 'A History of Pahang'." In 2017 International Conference on Education, Economics and Management Research (ICEEMR 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iceemr-17.2017.49.

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NECHITA, Constantin. "DECLINE HISTORY OF OAKS IN 20TH CENTURY FOR ROMANIAN EXTRA-CARPATHIAN REGIONS." In 19th SGEM International Multidisciplinary Scientific GeoConference EXPO Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgem2019/3.2/s14.087.

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Tleubekova, G. "Late 19th – early 20th century European travelers account of the nomadic people of Central Asia." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-07-2020-05.

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Stansfield, Billy, and William B. Ouimet. "HISTORY, MAPPING, AND PHYSICAL PROPERTIES OF 18TH – 19TH CENTURY RELICT CHARCOAL HEARTHS IN EASTERN CONNECTICUT." In 54th Annual GSA Northeastern Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019ne-328410.

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Shaidurov, Vladimir. "MIGRATIONS AND THEIR INFLUENCE ON THE ETHNIC COMPOSITION OF THE NORTHERN ASIAN POPULATION IN THE SECOND HALF OF THE 19TH CENTURY." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.068.

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Mitina, Rimma. "STAGES OF FORMATION AND DEVELOPMENT OF OFFICIAL PERIODICALS IN RUSSIAN PROVINCES IN THE 19TH CENTURY (FOR EXAMPLE NEWSPAPERS PERM PROVINCIAL GAZETTE)." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.076.

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Wozniakowski, Arkadiusz. "THE EASTERN BATTERY IN SWINOUJSCIE, POLAND � HISTORY AND ARCHITECTURE OF A PRUSSIAN COASTAL FORT FROM THE 19th CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.077.

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FONSECA, Letícia Pedruzzi. "Graphic innovations implemented in the Brazilian press by Julião Machado in the end of the 19th Century." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-075.

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Tsydene, Shirap. "Pre-Revolutionary Historiography of the History of Local Self-Government in Buryat." In Irkutsk Historical and Economic Yearbook 2020. Baikal State University, 2020. http://dx.doi.org/10.17150/978-5-7253-3017-5.53.

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With the inclusion of Buryats in the Russian state, the need arose to create management mechanisms and inclusion are of the Buryats in Russian culture. This need became the subject of research by theoreticians of scientific thought and state building, which formed over the 19th century, the historiographic foundation. The article highlights the issues formed and the development of historiography on the history of local self-government.

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Carr, Matthew A. "The Impact of Steam Innovations on Ship Design: An Abbreviated History of Marine Engineering." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-43767.

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The adaptation of steam engines for marine propulsion caused a dramatic shift in naval and commericial ship design during the 19th Century. The transition from sail to steam hastened the demise of several classes of ships and altered shippings routes from the trade winds to great circle routing. The conduct of naval warfare was always influenced by the limits of available propulsion technology. Throughout maritime history, innovative naval commanders sought ways to overrun, outmaneuver, and outlast their opponents. Coincident developments in armaments and armor, facilitated by this “new” propulsion technology, rendered the world’s sailing navies largely obsolete within a relatively brief period of the 19th Century. This presentation highlights the major technological advances in steam propulsion from the early combination of low-speed single-acting reciprocating engines driving paddle wheels through high-speed turbines and reduction gears driving multiple-blade variable-pitch propellers; and, boilers heated by hand-fed wood and coal through nuclear fission.

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