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

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Nicholls, E. Henry. "Snaphots of 19th-century science." Endeavour 29, no. 3 (2005): 89. http://dx.doi.org/10.1016/j.endeavour.2005.07.003.

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12

Serov, Yuri. "BORIS TISHCHENKO. THE TWELVE. CREATION HISTORY AND BASIC COMPOSING PRINCIPLES." Globus 7, no. 2(59) (2021): 15–18. http://dx.doi.org/10.52013/2658-5197-59-2-3.

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The article is devoted to the history of the creation and music score of the ballet Twelve based on the poem by A. Blok by the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko. The ballet was staged by the famous Soviet choreographer Leonid Jacobson back in 1964 and became, in fact, the first avant-garde ballet in the Soviet Union. Critics noted Tishchenko’s bright modern symphonic music and Jacobson’s free plastics, which “became a breath of clean air in the rarefied atmosphere of classical epigonism”.

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13

Battaner Moro, Elena. "A 19th-century speaking machine." Historiographia Linguistica 34, no. 1 (2007): 19–36. http://dx.doi.org/10.1075/hl.34.1.03bat.

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Summary The Tecnefón is a speaking machine developed in Spain in the 1860s by Severino Pérez y Vázquez. Pérez’s main book on the Tecnefón was published in 1868. Within the context of speaking machines designed from the 18th century onwards, the Tecnefón is built on an acoustical basis; hence it is different from W. von Kempelen’s device, which tried to ‘replicate’ the phonatory system. The Tecnefón has three main parts: a drum that generates sound (the source), an air chamber to hold such sound, and a set of tubes, chambers, and other artefacts propelled by a keyboard. Pérez created a prototype of a speaking machine that performed five vowels and six consonants, so it could ‘speak’ many sentences in Spanish. To this he added accent and intonation with a lever. However, the Tecnefón was never finished due to institutional circumstances that prevented Pérez from pursuing his research.

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14

Crosland, M. P. "Two 19th-century French physical scientists." Metascience 19, no. 2 (2010): 329–31. http://dx.doi.org/10.1007/s11016-010-9365-8.

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15

Bodenhorn, Howard. "Criminal sentencing in 19th-century Pennsylvania." Explorations in Economic History 46, no. 3 (2009): 287–98. http://dx.doi.org/10.1016/j.eeh.2009.03.001.

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16

Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.

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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.

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17

Kulbaka, Jacek. "From the history of disabilities (16th-19th century)." Biuletyn Historii Wychowania, no. 38 (October 11, 2019): 19–37. http://dx.doi.org/10.14746/bhw.2018.38.2.

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The article presents various circumstances (social, legal, philosophical and scientific) connected with the care, upbringing and education of people with disabilities from the early modern era to the beginning of the 20th century. Particular attention was to the history of people with disabilities in the Polish lands. The author tried to recall the activity of leading educational activists, pedagogues and scientists – animators of special education in Poland, Europe and the world. The text also contains information related to the activities of educational and upbringing institutions (institutional, organisational, methodological and other aspects).

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18

Kaminski, H. J. "A History of Neurophysiology in the 19th Century." Neurology 38, no. 12 (1988): 1901. http://dx.doi.org/10.1212/wnl.38.12.1901-a.

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19

Hughes, John R. "A history of neurophysiology in the 19th century." Electroencephalography and Clinical Neurophysiology 69, no. 5 (1988): 495–96. http://dx.doi.org/10.1016/0013-4694(88)90073-9.

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20

Coultrap-McQuin, Susan, and Susan K. Harris. "19th-Century American Women's Novels: Interpretative Strategies." Journal of American History 78, no. 2 (1991): 661. http://dx.doi.org/10.2307/2079580.

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21

Hochadel, Oliver. "Science in the 19th-century zoo." Endeavour 29, no. 1 (2005): 38–42. http://dx.doi.org/10.1016/j.endeavour.2004.11.002.

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22

Mittler, Barbara. "Rhapsody in Red: How Western Classical Music Became Chinese. By SHEILA MELVIN and JINDONG CAI. [New York: Algora Publishing, 2004. x+362 pp. ISBN 0-87586-179-2.]." China Quarterly 181 (March 2005): 199–201. http://dx.doi.org/10.1017/s0305741005380106.

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This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun, who was trained in Moscow and managed to serve the government before, during and after the Cultural Revolution; and composer He Luting, one of the most outspoken protagonists in China's music world and long-time principal at the Shanghai Conservatory. The authors' approach of choosing “white elephants” to present the history of classical music in China, although unfashionable since Jauss, brings much cohesion and structural elegance to the volume.The book is at its best when using material from interviews conducted by the authors. Based on this evidence, the book comes to one important conclusion: contact between Chinese and foreign musicians in China was generally not antagonistic, either before or after 1949. Foreign musicians did not behave in a condescending manner, as “imperialists” and Chinese musicians hardly ever perceived them to do so. For obvious reasons, few Chinese (and, surprisingly, few foreign studies) on China's classical music scene have acknowledged this fact.The authors have done a beautiful job in telling their story. They must be lauded for having gone through a great variety of sources including contemporary newspaper articles, propaganda magazines, Party documents, as well as films, recordings and some of the very recent, and mostly biographical, secondary literature on the subject published in China. Since the book is conceived as a collective biography, it lacks detailed musical and historical analysis and it would have benefited from a few closer readings. For example, what precisely is the meaning of “national style” for people as different as Tcherepnin, Mao Zedong or Guo Wenjing? Musical analysis would have provided an answer. Why do the authors not make more of the fact that Jiang Qing advised the musicians writing a model symphony to watch – and, more importantly, listen – to music in Hollywood films in order to improve their compositional skills? A more explicit engagement with the technical and musical styles of the model works (the term model opera should really be reserved for the operas in the set and not all of the pieces which also comprised ballets and symphonic compositions) would have been illuminating here, for it would have shown how indebted they were to the same principles of music-making as Hollywood film music on the one hand and the Butterfly Violin Concerto on the other – both officially condemned during the Cultural Revolution. It is sad, too, that the balanced account of the Cultural Revolution years – which describes both the pain it caused to many an intellectual and the benefits it brought for Chinese musical life generally – focuses almost entirely on the first set of eight model works and leaves out the second, equally important set of ten produced later (chapter seven). There are a number of non sequiturs in this book that are inevitable in any pioneering work of this size.

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23

VAN OYEN, G. "The Doublets in 19th-Century Gospel Study." Ephemerides Theologicae Lovanienses 73, no. 4 (1997): 277–306. http://dx.doi.org/10.2143/etl.73.4.504828.

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24

Marder, Nancy S. "The Changing Landscape of 19th Century Courts." Reviews in American History 46, no. 3 (2018): 433–37. http://dx.doi.org/10.1353/rah.2018.0065.

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25

Sasportes, José. "Grand Opera and the Decline of Ballet in the later Nineteenth Century: A Discursive Essay." Dance Research 33, no. 2 (2015): 258–68. http://dx.doi.org/10.3366/drs.2015.0140.

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Up to the end of the nineteenth century, the history of ballet and the history of opera were closely entwined in a war for supremacy, with opera often in the dominant role; this was particularly the case during the second half of the nineteenth century, when ballet was widely perceived as being in decline. Some historical background is necessary to provide a brief outline of the long process that led to this outcome.

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26

Jacks, David S. "What drove 19th century commodity market integration?" Explorations in Economic History 43, no. 3 (2006): 383–412. http://dx.doi.org/10.1016/j.eeh.2005.05.001.

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27

Nye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime." New Theatre Quarterly 25, no. 1 (2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.

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Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).

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Katznelson, Ira, Hartmut Kaelble, and Bruce Little. "Industrialization and Social Inequality in 19th-Century Europe." Journal of Interdisciplinary History 19, no. 2 (1988): 305. http://dx.doi.org/10.2307/204675.

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Freemantle, Harry. "Frédéric Le Play and 19th-century vision machines." History of the Human Sciences 30, no. 1 (2016): 66–93. http://dx.doi.org/10.1177/0952695116673526.

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An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices.

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Graus, Andrea. "Mysticism in the courtroom in 19th-century Europe." History of the Human Sciences 31, no. 3 (2018): 21–40. http://dx.doi.org/10.1177/0952695118761499.

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This article examines how and why criminal proceedings were brought against alleged cases of Catholic mysticism in several European countries during modernity. In particular, it explores how criminal charges were derived from mystical experiences and shows how these charges were examined inside the courtroom. To bring a lawsuit against supposed mystics, justice systems had to reduce their mysticism to ‘facts’ or actions involving a breach of the law, usually fraud. Such accusations were not the main reason why alleged mystics were taken to court, however. Focusing on three representative examples, in Spain, France and Germany, I argue that ‘mystic trials’ had more to do with specific conflicts between the defendant and the ecclesiastical or secular authorities than with public concern regarding pretence of the supernatural. Criminal courts in Europe approached such cases in a similar way. Just as in ecclesiastical inquiries, during the trials, judges called upon expert testimony to debunk the allegedly supernatural. Once a mystic entered the courtroom, his or her reputation was profoundly affected. Criminal lawsuits had a certain ‘demystifying power’ and were effective in stifling the fervour surrounding the alleged mystics. All in all, mystic trials offer a rich example of the ways in which modern criminal justice dealt with increasing enthusiasm for the supernatural during the 19th century.

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31

Weston, Robert. "Whooping Cough: A Brief History to the 19th Century." Canadian Bulletin of Medical History 29, no. 2 (2012): 329–49. http://dx.doi.org/10.3138/cbmh.29.2.329.

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32

Herucová, Marta. "Case Studies in the 19th Century History of Art." Acta Historiae Artium 49, no. 1 (2008): 351–59. http://dx.doi.org/10.1556/ahista.49.2008.1.38.

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33

Spindler, Gerald, and Herbert Hovenkamp. "Reshaping Legal and Economic History in the 19th Century." American Journal of Comparative Law 42, no. 4 (1994): 811. http://dx.doi.org/10.2307/840635.

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34

Sissons, Jeffrey. "Heroic History and Chiefly Chapels in 19th Century Tahiti." Oceania 78, no. 3 (2008): 320–31. http://dx.doi.org/10.1002/j.1834-4461.2008.tb00044.x.

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35

Agensky, Jonathan C. "Recognizing religion: Politics, history, and the “long 19th century”." European Journal of International Relations 23, no. 4 (2017): 729–55. http://dx.doi.org/10.1177/1354066116681428.

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Analyses of religion and international politics routinely concern the persistence of religion as a critical element in world affairs. However, they tend to neglect the constitutive interconnections between religion and political life. Consequently, religion is treated as exceptional to mainstream politics. In response, recent works focus on the relational dimensions of religion and international politics. This article advances an “entangled history” approach that emphasizes the constitutive, relational, and historical dimensions of religion — as a practice, discursive formation, and analytical category. It argues that these public dimensions of religion share their conditions of possibility and intelligibility in a political order that crystallized over the long 19th century. The neglect of this period has enabled International Relations to treat religion with a sense of closure at odds with the realities of religious political behavior and how it is understood. Refocusing on religion’s historical entanglements recovers the concept as a means of explaining international relations by “recognizing” how it is constituted as a category of social life. Beyond questions of the religious and political, this article speaks to renewed debates about the role of history in International Relations, proposing entanglement as a productive framing for international politics more generally.

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36

Hare, E. H. "On the History of Lunacy: 19th Century and After." History of Psychiatry 9, no. 33 (1998): 133–34. http://dx.doi.org/10.1177/0957154x9800903313.

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37

Rieppel, Lukas. "New order in the history of 19th century biology." Endeavour 33, no. 4 (2009): 119–20. http://dx.doi.org/10.1016/j.endeavour.2009.09.002.

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38

Jolliffe, Lee. "Women's Magazines in the 19th Century." Journal of Popular Culture 27, no. 4 (1994): 125–40. http://dx.doi.org/10.1111/j.0022-3840.1994.2704_125.x.

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39

VALENZUELA, LUIS. "Plebeians and Patricians in 19th Century Chile." Journal of Historical Sociology 2, no. 3 (1989): 287–301. http://dx.doi.org/10.1111/j.1467-6443.1989.tb00142.x.

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40

Galyatina, Anna V. "Russian Ballet Music from the Last Quarter of the 19th Century to the Beginning of the 20th Century: from Tchaikovsky to Stravinsky." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 159–64. http://dx.doi.org/10.17674/1997-0854.2017.4.159-164.

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41

Doležalová, Eva, Marie Šedivá Koldinská, Martin Sekera, Jana Mezerová, and Marek Junek. "History." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 28–39. http://dx.doi.org/10.1515/mmvp-2017-0033.

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Abstract The exposition named History will present the development of the Czech lands from the 9th century till the present. The exposition will be divided into two separate spaces – the Historical Building of the National Museum will house the history of the 9th–19th centuries and the New Building of the National Museum will house the history from the 20th century. Despite reflecting to a certain extent the traditional division of the Middle Ages, Early Modern Period, the “long” 19th century, and the 20th century, the narrative will be continuous without any artificial historical disruptions. We will debunk some historical myths and stereotypes. Emphasis will be laid on the presentation of items from the collections of the National Museum. A certain update will also be important, i.e. the presentation of ideas and symbols, that we refer to today. Parallel narratives will be nonetheless important, as they will show that history is not unambiguous and that certain events can be viewed from several different perspectives (e.g. the winner and the loser, nobleman and subject). Last but not least, we will address the issues of individual freedom and its limits.

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42

Spalva, Rita. "Ballet Art Reforms During the Enlightenment." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 436. http://dx.doi.org/10.17770/sie2015vol2.427.

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<p><strong>T<em>he article focuses on</em></strong><em> identifying the essence of the 18th century ballet reform within the context of contemporary ballet art. <strong>The chosen topic </strong>is explored through the monographs of Sergey Hudekov and Vera Krasovska, works of Jury Sloņimsky, Richard Kraus, Sarah Chapman Hilsendager, Brenda Dixon, B. and other dance researchers. In Latvia this topic has been addressed by R. Spalva in the monograph Classical Dance and Ballet in European Culture. <strong>The aim of the article </strong>is to analyse preconditions of 18th century ballet reforms, as well as to recognise the essence of reforms and their impact upon further development of ballet art. <strong>Research subject </strong>- ballet reforms of the Enlightenment era and contribution of Jean-Georges Noverre to their realisation. <strong>Research methods </strong>- scientific literature analysis, dance theory and history research. </em></p>

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43

Smith, Sherry L., and Pamela Herr. "Jessie Benton Fremont: American Woman of the 19th Century." Western Historical Quarterly 19, no. 2 (1988): 204. http://dx.doi.org/10.2307/968397.

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Paul, Andrea I., and Martha Mitten Allen. "Traveling West: 19th Century Women on the Overland Routes." Western Historical Quarterly 19, no. 2 (1988): 218. http://dx.doi.org/10.2307/968411.

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Liebenberg, Elri. "Thomas Baines’s Contribution to 19th Century South African Cartography." Terrae Incognitae 51, no. 1 (2019): 36–59. http://dx.doi.org/10.1080/00822884.2019.1574451.

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46

BRADLOW, EDNA. "Women at the Cape in the Mid-19th Century." South African Historical Journal 19, no. 1 (1987): 51–75. http://dx.doi.org/10.1080/02582478708671622.

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47

Mein Smith, Philippa. "Australia’s Fertility Transition: A Study of 19th-Century Tasmania." Australian Historical Studies 52, no. 1 (2021): 134–35. http://dx.doi.org/10.1080/1031461x.2021.1861687.

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48

Johnston, Ewan. "Reinventing Fiji at 19th-century and early 20th-century exhibitions." Journal of Pacific History 40, no. 1 (2005): 23–44. http://dx.doi.org/10.1080/00223340500082459.

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49

Freudenberger, Herman, and Hartmut Kaelble. "Industrialisation and Social Inequality in 19th-Century Europe." American Historical Review 93, no. 5 (1988): 1319. http://dx.doi.org/10.2307/1873585.

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50

Lankford, John. "Photography and the 19th-Century Transits of Venus." Technology and Culture 28, no. 3 (1987): 648. http://dx.doi.org/10.2307/3104996.

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