Edith Hall (ed.)
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266519
- eISBN:
- 9780191884238
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266519.001.0001
- Subject:
- Literature, Poetry
This volume of essays arose from a conference which marked the 80th birthday of prizewinning British poet Tony Harrison on 30 April 2017 and with his agreement constitutes his ‘official’ Festschrift. ...
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This volume of essays arose from a conference which marked the 80th birthday of prizewinning British poet Tony Harrison on 30 April 2017 and with his agreement constitutes his ‘official’ Festschrift. The contributors include practising poets, playwrights, specialists in Classics, Theatre, Translation Studies, English and World Literature, and professionals in media (radio, newspapers, TV and film) where Harrison’s extensive work has been least researched. The aim of the volume is to open up new approaches to the understanding of the work of one of our most important poets.
Although it is indeed intended to provide the substantial and sufficiently comprehensive contribution to Harrison scholarship that his official eight-decades-alive merit, and the Editor’s Introduction to the volume is sensitive to the needs of the reader in terms of bibliographical signposts, the four sections focus primarily on areas that have been hitherto little explored: (1) his more recent poems; (2) the continuation of his relationship with ancient theatre after the landmark Oresteia and Trackers of the 1980–1990 decade, his evolving dramatic relationship with Euripides, and with French authors (Hugo, Molière, Racine); (3) the international angle. This entails both the profound contribution made to his work by his periods of residence abroad, in Africa, North America, Moscow and Prague, and his popularity in French and Italian translation (both European translators have agreed to speak); (4) his extensive body of poems (about which almost nothing has been published) written specifically for delivery in the media of film, television and radio.Less
This volume of essays arose from a conference which marked the 80th birthday of prizewinning British poet Tony Harrison on 30 April 2017 and with his agreement constitutes his ‘official’ Festschrift. The contributors include practising poets, playwrights, specialists in Classics, Theatre, Translation Studies, English and World Literature, and professionals in media (radio, newspapers, TV and film) where Harrison’s extensive work has been least researched. The aim of the volume is to open up new approaches to the understanding of the work of one of our most important poets.
Although it is indeed intended to provide the substantial and sufficiently comprehensive contribution to Harrison scholarship that his official eight-decades-alive merit, and the Editor’s Introduction to the volume is sensitive to the needs of the reader in terms of bibliographical signposts, the four sections focus primarily on areas that have been hitherto little explored: (1) his more recent poems; (2) the continuation of his relationship with ancient theatre after the landmark Oresteia and Trackers of the 1980–1990 decade, his evolving dramatic relationship with Euripides, and with French authors (Hugo, Molière, Racine); (3) the international angle. This entails both the profound contribution made to his work by his periods of residence abroad, in Africa, North America, Moscow and Prague, and his popularity in French and Italian translation (both European translators have agreed to speak); (4) his extensive body of poems (about which almost nothing has been published) written specifically for delivery in the media of film, television and radio.
Halina Goldberg
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195130737
- eISBN:
- 9780199867424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130737.003.0002
- Subject:
- Music, History, Western
This chapter outlines the history of Poland from the final loss of independence in 1795 to the November Uprising of 1830. Cultural developments taking place during the periods of the Duchy of Warsaw ...
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This chapter outlines the history of Poland from the final loss of independence in 1795 to the November Uprising of 1830. Cultural developments taking place during the periods of the Duchy of Warsaw and Congress Kingdom are placed within their historical and economic contexts. Attention is given to the debate between the proponents of Classicism, supporting the rationalist ideology; and the supporters of Romanticism, headed by Mickiewicz who embrace idealism. Polish Romantic ideology is specifically manifested through the birth of the Slavophile doctrine, the restoration of Sarmatism, and efforts to construct and uphold national identity.Less
This chapter outlines the history of Poland from the final loss of independence in 1795 to the November Uprising of 1830. Cultural developments taking place during the periods of the Duchy of Warsaw and Congress Kingdom are placed within their historical and economic contexts. Attention is given to the debate between the proponents of Classicism, supporting the rationalist ideology; and the supporters of Romanticism, headed by Mickiewicz who embrace idealism. Polish Romantic ideology is specifically manifested through the birth of the Slavophile doctrine, the restoration of Sarmatism, and efforts to construct and uphold national identity.
R. H. Stephenson
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263020
- eISBN:
- 9780191734199
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263020.003.0022
- Subject:
- History, Historiography
Professor Elizabeth M. Wilkinson was one of the greatest, and — across the whole spectrum of the humanities — one of the most highly regarded, scholars of German culture the United Kingdom has ...
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Professor Elizabeth M. Wilkinson was one of the greatest, and — across the whole spectrum of the humanities — one of the most highly regarded, scholars of German culture the United Kingdom has produced, in particular because of her illuminating work, both historical and theoretical, on German Classicism, which did much to bring home its living significance. All who knew her were impressed by the depth and breadth of mind that she brought to bear on her work. She is fondly remembered as a teacher of genius who combined in a uniquely charismatic way sheer intellectual excitement, tender (and patient) regard for the development of individual students, and a passionate — sometimes fierce — dedication to the resolution of first-order problems.Less
Professor Elizabeth M. Wilkinson was one of the greatest, and — across the whole spectrum of the humanities — one of the most highly regarded, scholars of German culture the United Kingdom has produced, in particular because of her illuminating work, both historical and theoretical, on German Classicism, which did much to bring home its living significance. All who knew her were impressed by the depth and breadth of mind that she brought to bear on her work. She is fondly remembered as a teacher of genius who combined in a uniquely charismatic way sheer intellectual excitement, tender (and patient) regard for the development of individual students, and a passionate — sometimes fierce — dedication to the resolution of first-order problems.
Frank Shovlin
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781781383216
- eISBN:
- 9781786944047
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781383216.001.0001
- Subject:
- Literature, Criticism/Theory
Touchstones examines the ways in which John McGahern became a writer through reading. This reading was both extensive and intensive, and tended towards immersion in the classics. New insights are ...
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Touchstones examines the ways in which John McGahern became a writer through reading. This reading was both extensive and intensive, and tended towards immersion in the classics. New insights are provided into McGahern’s use of writers as diverse as Dante Alighieri, William Blake, Stendhal, Albert Camus, W. B. Yeats and several others. Evidence for these claims is found both through close reading of McGahern’s published texts as well as via unprecedented sleuthing in his extensive archive of papers held at the National University of Ireland, Galway. The ultimate intention of this book is to draw attention to the very literary and writerly nature of McGahern as an artist, and to place him, not just as a great Irish writer, but as part of a long and venerable European tradition.Less
Touchstones examines the ways in which John McGahern became a writer through reading. This reading was both extensive and intensive, and tended towards immersion in the classics. New insights are provided into McGahern’s use of writers as diverse as Dante Alighieri, William Blake, Stendhal, Albert Camus, W. B. Yeats and several others. Evidence for these claims is found both through close reading of McGahern’s published texts as well as via unprecedented sleuthing in his extensive archive of papers held at the National University of Ireland, Galway. The ultimate intention of this book is to draw attention to the very literary and writerly nature of McGahern as an artist, and to place him, not just as a great Irish writer, but as part of a long and venerable European tradition.
Stefano Evangelista
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199588541
- eISBN:
- 9780191741845
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199588541.003.0016
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
With his novel Marius the Epicurean (1885), Walter Pater moved the focus of his interest from Greek to Roman antiquity. In his reflections on historiography, his ideal of the hero as a man of feeling ...
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With his novel Marius the Epicurean (1885), Walter Pater moved the focus of his interest from Greek to Roman antiquity. In his reflections on historiography, his ideal of the hero as a man of feeling and his exploration of the sentimental register, Pater made use of an extensive range of English and European Romantic sources, from Wordsworth to Goethe, Rousseau, and Madame de Staël. His portrayal of Imperial Rome was likewise based on early nineteenth-century representations of the city as, at the same time, museum and cosmopolitan stage. By means of these intertextualities, the historical novel in Pater's hands becomes a vehicle for the study of the relationship between Romanticism and Classicism, providing us at the same time with an important document of the legacy of Romanticism in late nineteenth-century England.Less
With his novel Marius the Epicurean (1885), Walter Pater moved the focus of his interest from Greek to Roman antiquity. In his reflections on historiography, his ideal of the hero as a man of feeling and his exploration of the sentimental register, Pater made use of an extensive range of English and European Romantic sources, from Wordsworth to Goethe, Rousseau, and Madame de Staël. His portrayal of Imperial Rome was likewise based on early nineteenth-century representations of the city as, at the same time, museum and cosmopolitan stage. By means of these intertextualities, the historical novel in Pater's hands becomes a vehicle for the study of the relationship between Romanticism and Classicism, providing us at the same time with an important document of the legacy of Romanticism in late nineteenth-century England.
Brian Hamnett
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199695041
- eISBN:
- 9780191732164
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695041.003.0004
- Subject:
- Literature, European Literature, 19th-century and Victorian Literature
During the 1770s and 1780s, historical drama in Germany, much influenced by Shakespeare and Calderón, seemed to capture the prime place in the fictional portrayal of the past. Literary innovators in ...
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During the 1770s and 1780s, historical drama in Germany, much influenced by Shakespeare and Calderón, seemed to capture the prime place in the fictional portrayal of the past. Literary innovators in Germany directed their fire against the continuing influence of French Neo-Classicism, particularly in drama. The Sturm und Drang and early German Romanticism evoked medieval and popular themes and, despite obvious roots in the Enlightenment, pointed towards a revival of Christianity. Yet the debt to the original Greek Classics was never lost. Schiller’s ‘Wallenstein’ (1799) was a key work and opened the way for a reinterpretation of the traumatic Thirty Years’ War in Central Europe and Wallenstein’s role in it, whether in drama, history, or the novel. In 1869 the historian Ranke took up these themes. Kleist’s historical novella ‘Michael Kohlhaas’, of 1810 (four years before Scott’s ‘Waverley’), brought Martin Luther decisively into the story among the fictional characters. Although Goethe and Novalis also wrote novels, historical drama, poetry, and philosophy dominated the German scene. Even so, the influence of Romanticism became decisive in Western and Central Europe, and greatly influenced the historical novel.Less
During the 1770s and 1780s, historical drama in Germany, much influenced by Shakespeare and Calderón, seemed to capture the prime place in the fictional portrayal of the past. Literary innovators in Germany directed their fire against the continuing influence of French Neo-Classicism, particularly in drama. The Sturm und Drang and early German Romanticism evoked medieval and popular themes and, despite obvious roots in the Enlightenment, pointed towards a revival of Christianity. Yet the debt to the original Greek Classics was never lost. Schiller’s ‘Wallenstein’ (1799) was a key work and opened the way for a reinterpretation of the traumatic Thirty Years’ War in Central Europe and Wallenstein’s role in it, whether in drama, history, or the novel. In 1869 the historian Ranke took up these themes. Kleist’s historical novella ‘Michael Kohlhaas’, of 1810 (four years before Scott’s ‘Waverley’), brought Martin Luther decisively into the story among the fictional characters. Although Goethe and Novalis also wrote novels, historical drama, poetry, and philosophy dominated the German scene. Even so, the influence of Romanticism became decisive in Western and Central Europe, and greatly influenced the historical novel.
Brian Hamnett
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199695041
- eISBN:
- 9780191732164
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695041.003.0006
- Subject:
- Literature, European Literature, 19th-century and Victorian Literature
Despite much discussion concerning the nature and purpose of Romanticism both at the time and afterwards, it took to the historical novel in a surge during the later 1810s and 1820s—partly under the ...
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Despite much discussion concerning the nature and purpose of Romanticism both at the time and afterwards, it took to the historical novel in a surge during the later 1810s and 1820s—partly under the influence of German origins, and partly due to the popularity of Scott’s novels. Nevertheless, Romanticism and the historical novel were two different phenomena. Sooner or later the latter would have to free itself from the former. The many contradictions in Romanticism passed into the historical novel. Strong interest in medieval themes, particularly where medieval liberties were contrasted with modern absolutism, represented one element; the influence of the French Revolution, early liberalism, and nationalism, other elements. Medieval historians such as Thierry acknowledged the influence of Scott. Balzac contrasted local Catholic resistance to Paris Revolutionaries in ‘Les Chouans’, again setting fictional characters in first place. Vigny and Mérimée, by contrast, placed historical characters at the centre of the action. Dumas developed the romance element in the historical novel and gained a wide and lasting popular audience through his entertaining writing and plots. Hugo and Dickens observed French and English mobs with a mixture of artistic delight and social revulsion.Less
Despite much discussion concerning the nature and purpose of Romanticism both at the time and afterwards, it took to the historical novel in a surge during the later 1810s and 1820s—partly under the influence of German origins, and partly due to the popularity of Scott’s novels. Nevertheless, Romanticism and the historical novel were two different phenomena. Sooner or later the latter would have to free itself from the former. The many contradictions in Romanticism passed into the historical novel. Strong interest in medieval themes, particularly where medieval liberties were contrasted with modern absolutism, represented one element; the influence of the French Revolution, early liberalism, and nationalism, other elements. Medieval historians such as Thierry acknowledged the influence of Scott. Balzac contrasted local Catholic resistance to Paris Revolutionaries in ‘Les Chouans’, again setting fictional characters in first place. Vigny and Mérimée, by contrast, placed historical characters at the centre of the action. Dumas developed the romance element in the historical novel and gained a wide and lasting popular audience through his entertaining writing and plots. Hugo and Dickens observed French and English mobs with a mixture of artistic delight and social revulsion.
Emily Greenwood
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199595006
- eISBN:
- 9780191731464
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199595006.003.0022
- Subject:
- Classical Studies, African History: BCE to 500CE
This chapter examines the reception of Classics in the work Cahier d'un retour au pays natal by the Martinican poet Aimé Césaire, and compares Césaire's engagement with the cultures of Greece and ...
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This chapter examines the reception of Classics in the work Cahier d'un retour au pays natal by the Martinican poet Aimé Césaire, and compares Césaire's engagement with the cultures of Greece and Rome to that of the Barbadian poet Kamau Brathwaite. By comparing how these two Caribbean poets from different generations, the one Francophone, the other Anglophone, have used Classics in their expression of black cultural identities, the chapter reviews the concept of black classicism — the idea that there is a coherent reception of Classics in different black traditions. Rather than simply rejecting or affirming black classicism, it is argued that the idea of dislocation / dys‐location is central to Caribbean classical receptions, as authors attempt to relate the different black cultures which are present in the region.Less
This chapter examines the reception of Classics in the work Cahier d'un retour au pays natal by the Martinican poet Aimé Césaire, and compares Césaire's engagement with the cultures of Greece and Rome to that of the Barbadian poet Kamau Brathwaite. By comparing how these two Caribbean poets from different generations, the one Francophone, the other Anglophone, have used Classics in their expression of black cultural identities, the chapter reviews the concept of black classicism — the idea that there is a coherent reception of Classics in different black traditions. Rather than simply rejecting or affirming black classicism, it is argued that the idea of dislocation / dys‐location is central to Caribbean classical receptions, as authors attempt to relate the different black cultures which are present in the region.
Frank Shovlin
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781781383216
- eISBN:
- 9781786944047
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781383216.003.0001
- Subject:
- Literature, Criticism/Theory
Examines why the book is called Touchstones, moving from a close reading of some key moments in McGahern’s third novel, The Leavetaking where Arnold’s ‘Dover Beach’ is quoted and then onward to his ...
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Examines why the book is called Touchstones, moving from a close reading of some key moments in McGahern’s third novel, The Leavetaking where Arnold’s ‘Dover Beach’ is quoted and then onward to his essay, ‘The Study of Poetry’ in which he inaugurates the idea of the touchstone as a useful critical tool for the literary scholar. Also introduces the McGahern papers at NUI Galway which form an important plank for the research.Less
Examines why the book is called Touchstones, moving from a close reading of some key moments in McGahern’s third novel, The Leavetaking where Arnold’s ‘Dover Beach’ is quoted and then onward to his essay, ‘The Study of Poetry’ in which he inaugurates the idea of the touchstone as a useful critical tool for the literary scholar. Also introduces the McGahern papers at NUI Galway which form an important plank for the research.
Leif Weatherby
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780823269402
- eISBN:
- 9780823269457
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823269402.003.0009
- Subject:
- Philosophy, Metaphysics/Epistemology
Combining Classicist aesthetics with Idealism’s focus on the validity of judgments, Goethe developed a response to Romantic organology, which was expressed in his reaction to the French Academy ...
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Combining Classicist aesthetics with Idealism’s focus on the validity of judgments, Goethe developed a response to Romantic organology, which was expressed in his reaction to the French Academy debate between Georges Cuvier and Étienne Geoffroy de St. Hilaire, and in debate with Hegel. Hegel accused Goethe of approaching the natural sciences “without organs,” and Goethe responded with what I call a “quasi-philosophy” of the organ aimed at a social transformation of the world as the task of natural science. Goethe’s biological Classicism combined with his philosophical Idealism to suggest a conflation of Hegel’s Absolute and Objective Spirits, and a kind of “transcendental technology,” based in the ancient discourse about the hand as the “tools of tools.” This would allow intervention in nature and render the human free.Less
Combining Classicist aesthetics with Idealism’s focus on the validity of judgments, Goethe developed a response to Romantic organology, which was expressed in his reaction to the French Academy debate between Georges Cuvier and Étienne Geoffroy de St. Hilaire, and in debate with Hegel. Hegel accused Goethe of approaching the natural sciences “without organs,” and Goethe responded with what I call a “quasi-philosophy” of the organ aimed at a social transformation of the world as the task of natural science. Goethe’s biological Classicism combined with his philosophical Idealism to suggest a conflation of Hegel’s Absolute and Objective Spirits, and a kind of “transcendental technology,” based in the ancient discourse about the hand as the “tools of tools.” This would allow intervention in nature and render the human free.
Martin Shingler
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9781474411394
- eISBN:
- 9781474438445
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411394.003.0005
- Subject:
- Film, Television and Radio, Film
In 1924, John Barrymore joined Warner Bros. to star in Beau Brummel, the Clyde Fitch play made famous by stage actor Richard Mansfield in 1890. Here, as this chapter explores, Barrymore fused ...
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In 1924, John Barrymore joined Warner Bros. to star in Beau Brummel, the Clyde Fitch play made famous by stage actor Richard Mansfield in 1890. Here, as this chapter explores, Barrymore fused elements of Classicism, Neo-Romanticism and Realism in his screen performance. In doing so, as the chapter suggests, Barrymore preserved the traditions of earlier generations of actors while modifying them for modern audiences and new technologies.Less
In 1924, John Barrymore joined Warner Bros. to star in Beau Brummel, the Clyde Fitch play made famous by stage actor Richard Mansfield in 1890. Here, as this chapter explores, Barrymore fused elements of Classicism, Neo-Romanticism and Realism in his screen performance. In doing so, as the chapter suggests, Barrymore preserved the traditions of earlier generations of actors while modifying them for modern audiences and new technologies.
Marie Sumner Lott
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039225
- eISBN:
- 9780252097270
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039225.003.0007
- Subject:
- Music, History, Western
This concluding chapter analyzes how the diversity of Antonín Dvořák's audiences affected his string quartets. The strain of satisfying the disparate expectations of diverse audiences while ...
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This concluding chapter analyzes how the diversity of Antonín Dvořák's audiences affected his string quartets. The strain of satisfying the disparate expectations of diverse audiences while attempting to establish himself as a composer of “universal” music in the tradition of German Classicism is most evident in Dvořák's string quartets. These works demonstrate his shrewdness in reading the musical climate and responding to it with appropriate stylistic choices that address not only the desire for exotic signifiers or their absence but also the types of engagement that listeners and performers would enjoy in different performance settings. The chapter then illuminates the features of Dvořák's earlier string quartets that indicate the composer's engagement with pervasive nineteenth-century string quartet traditions and his successful navigation of the rapidly changing chamber music culture in the last quarter of the nineteenth century.Less
This concluding chapter analyzes how the diversity of Antonín Dvořák's audiences affected his string quartets. The strain of satisfying the disparate expectations of diverse audiences while attempting to establish himself as a composer of “universal” music in the tradition of German Classicism is most evident in Dvořák's string quartets. These works demonstrate his shrewdness in reading the musical climate and responding to it with appropriate stylistic choices that address not only the desire for exotic signifiers or their absence but also the types of engagement that listeners and performers would enjoy in different performance settings. The chapter then illuminates the features of Dvořák's earlier string quartets that indicate the composer's engagement with pervasive nineteenth-century string quartet traditions and his successful navigation of the rapidly changing chamber music culture in the last quarter of the nineteenth century.
Sara Coodin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474418386
- eISBN:
- 9781474434492
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474418386.003.0002
- Subject:
- Literature, Shakespeare Studies
Chapter 1 discusses historical evidence regarding how Jews or ‘Hebrews’ and were imagined, represented, and encountered by Englishmen in the late sixteenth and early seventeenth centuries. This ...
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Chapter 1 discusses historical evidence regarding how Jews or ‘Hebrews’ and were imagined, represented, and encountered by Englishmen in the late sixteenth and early seventeenth centuries. This chapter considers English attitudes towards Jews as well as Hebrew, the language most closely associated with the Jewish people; and argues that these encounters reflected complex, morally ambivalent responses that are not easily dismissible as flatly anti-Semitic, as some influential recent scholarship has insisted. Among the evidence this chapter discusses is Henry VIII’s solicitation of rabbinical opinion on the Great Matter of his divorce, the Classicist Robert Wakefield’s text Oratio de utilitate trium linguarum, English writers’ prefaces to their translations of Classical texts, and the inventor Simon Sturtevant’s instructional text Dibre Adam, or Adams Hebrew Dictionarie.Less
Chapter 1 discusses historical evidence regarding how Jews or ‘Hebrews’ and were imagined, represented, and encountered by Englishmen in the late sixteenth and early seventeenth centuries. This chapter considers English attitudes towards Jews as well as Hebrew, the language most closely associated with the Jewish people; and argues that these encounters reflected complex, morally ambivalent responses that are not easily dismissible as flatly anti-Semitic, as some influential recent scholarship has insisted. Among the evidence this chapter discusses is Henry VIII’s solicitation of rabbinical opinion on the Great Matter of his divorce, the Classicist Robert Wakefield’s text Oratio de utilitate trium linguarum, English writers’ prefaces to their translations of Classical texts, and the inventor Simon Sturtevant’s instructional text Dibre Adam, or Adams Hebrew Dictionarie.
John Ma
- Published in print:
- 2018
- Published Online:
- February 2018
- ISBN:
- 9780198748472
- eISBN:
- 9780191811098
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198748472.003.0013
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter considers two phenomena, to cap the volume’s explorations of Athens and its story. The first is to gather the evidence for a broad phenomenon, which is contemporary with various shifts ...
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This chapter considers two phenomena, to cap the volume’s explorations of Athens and its story. The first is to gather the evidence for a broad phenomenon, which is contemporary with various shifts in the political culture of late Classical Athens, but overtakes it geographically and chronologically: a ‘great convergence’ of civic practice, institutions, and discourse around a generalized assumption of (acceptable degrees of) autonomy and moderate democracy. The result is a polis which looks, roughly, like Aristotle’s. This great convergence created the conditions out of which the Roman-era polis had to evolve, under its own conditions; the fitful forgetting of the legacy of the Hellenistic polis is the second topic of this paper, exemplified by Plutarch’s Classicism and Pausanias’ Hellenistic memories. ‘Whatever happened to Athens?’ is a question every Classicist should be aware of, since it determines the whole shape of what she is busy with.Less
This chapter considers two phenomena, to cap the volume’s explorations of Athens and its story. The first is to gather the evidence for a broad phenomenon, which is contemporary with various shifts in the political culture of late Classical Athens, but overtakes it geographically and chronologically: a ‘great convergence’ of civic practice, institutions, and discourse around a generalized assumption of (acceptable degrees of) autonomy and moderate democracy. The result is a polis which looks, roughly, like Aristotle’s. This great convergence created the conditions out of which the Roman-era polis had to evolve, under its own conditions; the fitful forgetting of the legacy of the Hellenistic polis is the second topic of this paper, exemplified by Plutarch’s Classicism and Pausanias’ Hellenistic memories. ‘Whatever happened to Athens?’ is a question every Classicist should be aware of, since it determines the whole shape of what she is busy with.
Dana Gooley
- Published in print:
- 2018
- Published Online:
- June 2018
- ISBN:
- 9780190633585
- eISBN:
- 9780190633615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190633585.003.0004
- Subject:
- Music, History, Western
Chapter 3 is about Carl Loewe, a little-known musician who undertook an unprecedented and remarkable task: improvising entire songs, both the melody and the accompaniment, on poems given to him by ...
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Chapter 3 is about Carl Loewe, a little-known musician who undertook an unprecedented and remarkable task: improvising entire songs, both the melody and the accompaniment, on poems given to him by the audience. This chapter reconstructs Loewe’s methods for performing this difficult feat and describes the cultural impetuses that motivated it. I propose that Loewe’s improvisations, performed mainly on a series of concert tours he undertook in the 1830s, condensed a number of independent cultural strains—the kapellmeister’s fluency in keyboard improvisation, the practice of touring virtuosos, the literary cult of poetic improvisers, and the genre theory of the ballad, which described it as a species of epic or bardic narration that was understood as improvisatory in character.Less
Chapter 3 is about Carl Loewe, a little-known musician who undertook an unprecedented and remarkable task: improvising entire songs, both the melody and the accompaniment, on poems given to him by the audience. This chapter reconstructs Loewe’s methods for performing this difficult feat and describes the cultural impetuses that motivated it. I propose that Loewe’s improvisations, performed mainly on a series of concert tours he undertook in the 1830s, condensed a number of independent cultural strains—the kapellmeister’s fluency in keyboard improvisation, the practice of touring virtuosos, the literary cult of poetic improvisers, and the genre theory of the ballad, which described it as a species of epic or bardic narration that was understood as improvisatory in character.
Kathleen Riley
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780198789260
- eISBN:
- 9780191831119
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198789260.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Plays and Playwrights: Classical, Early, and Medieval
The Introduction begins with a succinct factual account of Wilde’s classical ‘biography’, from his childhood and early schooling, through his years as a student at Trinity College Dublin and Magdalen ...
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The Introduction begins with a succinct factual account of Wilde’s classical ‘biography’, from his childhood and early schooling, through his years as a student at Trinity College Dublin and Magdalen College, Oxford, to his later literary success. It explains the novelty of, and the cause for, the broad interdisciplinary approach taken in this book, and argues that the contributed essays, dealing in multifaceted but complementary ways, add significantly to modern Wildean scholarship. The Introduction is intended as a guide to the themes covered in this collection and the links which unite them in their mission. It argues that Wilde’s classicism was crucial to his self-creation, to his taking control of his own myth, and that one of the most striking aspects of his classicism was his commoditization of the ancient world, his use of it in literary ‘products’ designed to be consumed by large middle-class audiences.Less
The Introduction begins with a succinct factual account of Wilde’s classical ‘biography’, from his childhood and early schooling, through his years as a student at Trinity College Dublin and Magdalen College, Oxford, to his later literary success. It explains the novelty of, and the cause for, the broad interdisciplinary approach taken in this book, and argues that the contributed essays, dealing in multifaceted but complementary ways, add significantly to modern Wildean scholarship. The Introduction is intended as a guide to the themes covered in this collection and the links which unite them in their mission. It argues that Wilde’s classicism was crucial to his self-creation, to his taking control of his own myth, and that one of the most striking aspects of his classicism was his commoditization of the ancient world, his use of it in literary ‘products’ designed to be consumed by large middle-class audiences.
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.003.0002
- Subject:
- Music, History, Western, Theory, Analysis, Composition
This chapter explores how the narrative of nineteenth-century music that was constructed in the early GDR by musicologists such as Georg Knepler, Harry Goldschmidt, and Ernst Hermann Meyer functioned ...
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This chapter explores how the narrative of nineteenth-century music that was constructed in the early GDR by musicologists such as Georg Knepler, Harry Goldschmidt, and Ernst Hermann Meyer functioned as a form of national history, dealing in romance emplotments, positive heroes, and mythic struggles between good and evil. This model of history located the precedents for the socialist self and the capitalist other in classicism and romanticism respectively. The construct of the heroic Beethoven was heralded as a prototype for the socialist citizen, and a tradition of dialectical composition with its origins in classical sonata form, as the precursor to socialist realism. Romanticism, with its irrational, passive, and escapist tendencies was cast as the polar opposite to this. However, few of the major canonic composers were associated with this aesthetic. Instead, artists such as Brahms were classed as realists and incorporated into the prehistory of the state.Less
This chapter explores how the narrative of nineteenth-century music that was constructed in the early GDR by musicologists such as Georg Knepler, Harry Goldschmidt, and Ernst Hermann Meyer functioned as a form of national history, dealing in romance emplotments, positive heroes, and mythic struggles between good and evil. This model of history located the precedents for the socialist self and the capitalist other in classicism and romanticism respectively. The construct of the heroic Beethoven was heralded as a prototype for the socialist citizen, and a tradition of dialectical composition with its origins in classical sonata form, as the precursor to socialist realism. Romanticism, with its irrational, passive, and escapist tendencies was cast as the polar opposite to this. However, few of the major canonic composers were associated with this aesthetic. Instead, artists such as Brahms were classed as realists and incorporated into the prehistory of the state.
Caitlín Eilís Barrett
- Published in print:
- 2019
- Published Online:
- June 2019
- ISBN:
- 9780190641351
- eISBN:
- 9780190641382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190641351.003.0002
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
Chapter 2 analyzes general patterns in the iconography and contexts of Nilotic imagery at Pompeii. A discussion of the “cultural biography” of Nilotic imagery positions these frescoes and mosaics ...
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Chapter 2 analyzes general patterns in the iconography and contexts of Nilotic imagery at Pompeii. A discussion of the “cultural biography” of Nilotic imagery positions these frescoes and mosaics within the broader context of Roman artistic emulation of earlier visual cultures. While Roman emulations of Greek material culture have traditionally attracted the most intense scholarly attention, this chapter argues for framing “Classicizing” art as part of a larger “retrospective” phenomenon that also included Roman adaptations of Egyptian objects and images. This chapter also provides a synthetic contextual analysis of Nilotic scenes at Pompeii, discussing the reasons for their frequent association with domestic gardens. Within gardens, Nilotic imagery is often associated with water features and installations for dining and drinking, producing an environment that mirrors many aspects of the scenes themselves. The context of the imagery thus provokes viewers to compare themselves to the figures it depicts.Less
Chapter 2 analyzes general patterns in the iconography and contexts of Nilotic imagery at Pompeii. A discussion of the “cultural biography” of Nilotic imagery positions these frescoes and mosaics within the broader context of Roman artistic emulation of earlier visual cultures. While Roman emulations of Greek material culture have traditionally attracted the most intense scholarly attention, this chapter argues for framing “Classicizing” art as part of a larger “retrospective” phenomenon that also included Roman adaptations of Egyptian objects and images. This chapter also provides a synthetic contextual analysis of Nilotic scenes at Pompeii, discussing the reasons for their frequent association with domestic gardens. Within gardens, Nilotic imagery is often associated with water features and installations for dining and drinking, producing an environment that mirrors many aspects of the scenes themselves. The context of the imagery thus provokes viewers to compare themselves to the figures it depicts.
Katherine Kolb
- Published in print:
- 2015
- Published Online:
- March 2015
- ISBN:
- 9780199391950
- eISBN:
- 9780199391981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199391950.003.0004
- Subject:
- Music, Opera, History, Western
In this manifesto for musical Romanticism, published three months before the premiere of his Symphonie fantastique, Berlioz brings music into the debates over Classicism and Romanticism that, in ...
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In this manifesto for musical Romanticism, published three months before the premiere of his Symphonie fantastique, Berlioz brings music into the debates over Classicism and Romanticism that, in literature, paved the way for the artistic and political revolutions of 1830. For Berlioz as for Hugo, Romanticism means liberty in art; music is by nature the freest of the arts, argues Berlioz, though the most artificially fettered (like man in Rousseau’s Social Contract). Beginning with a carefully worded definition of music, Berlioz discusses its basic constituents—rhythm, melody, harmony, and expression; he then assails the rules and prejudices that have impeded musical progress. He honors Gluck as the first Romantic, because Gluck was first to break free of the rules. He ends with Beethoven and Weber, whose instrumental music embodies the ultimate musical freedom, with a transcendent power augmented by its independence from words.Less
In this manifesto for musical Romanticism, published three months before the premiere of his Symphonie fantastique, Berlioz brings music into the debates over Classicism and Romanticism that, in literature, paved the way for the artistic and political revolutions of 1830. For Berlioz as for Hugo, Romanticism means liberty in art; music is by nature the freest of the arts, argues Berlioz, though the most artificially fettered (like man in Rousseau’s Social Contract). Beginning with a carefully worded definition of music, Berlioz discusses its basic constituents—rhythm, melody, harmony, and expression; he then assails the rules and prejudices that have impeded musical progress. He honors Gluck as the first Romantic, because Gluck was first to break free of the rules. He ends with Beethoven and Weber, whose instrumental music embodies the ultimate musical freedom, with a transcendent power augmented by its independence from words.
Henry Stead
- Published in print:
- 2015
- Published Online:
- December 2015
- ISBN:
- 9780198744887
- eISBN:
- 9780191806001
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198744887.003.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
The Introduction focuses on why Catullus arrived in Britain when he did. It discusses the reasons for his work being simultaneously attractive and repulsive to different constituencies of Romantic ...
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The Introduction focuses on why Catullus arrived in Britain when he did. It discusses the reasons for his work being simultaneously attractive and repulsive to different constituencies of Romantic readers, identifying trends both in education and literary culture that favoured the arrival of the Roman poet. It introduces the reader to what is frequently misinterpreted as Romantic anti-classicism, recasting the phenomenon as a rejection not of the Greek and Roman classics themselves, but of the antiquated blend of the classicism associated with the old world order. It concludes with a brief discussion of literary engagement, including translation, allusion, and those interactions between ancient and modern authors which are more difficult to define.Less
The Introduction focuses on why Catullus arrived in Britain when he did. It discusses the reasons for his work being simultaneously attractive and repulsive to different constituencies of Romantic readers, identifying trends both in education and literary culture that favoured the arrival of the Roman poet. It introduces the reader to what is frequently misinterpreted as Romantic anti-classicism, recasting the phenomenon as a rejection not of the Greek and Roman classics themselves, but of the antiquated blend of the classicism associated with the old world order. It concludes with a brief discussion of literary engagement, including translation, allusion, and those interactions between ancient and modern authors which are more difficult to define.
