Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.001.0001
- Subject:
- Music, History, American, Ethnomusicology, World Music
This book is about play, performance, and participatory culture in the digital age. It shows how music, video games, and social media are bridging virtual and visceral experience, creating dispersed ...
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This book is about play, performance, and participatory culture in the digital age. It shows how music, video games, and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by “playing along” with popular culture. Miller reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar’s ears; how a Guitar Hero player channels the experience of a live rock performer; and how an amateur guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.Less
This book is about play, performance, and participatory culture in the digital age. It shows how music, video games, and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by “playing along” with popular culture. Miller reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar’s ears; how a Guitar Hero player channels the experience of a live rock performer; and how an amateur guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.
Chloe Silverman
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691150468
- eISBN:
- 9781400840397
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150468.003.0004
- Subject:
- Anthropology, Social and Cultural Anthropology
This chapter focuses on parents emerging from the experience of wide-ranging psychogenic theorizing about autism during the 1950s and 1960s, of which Bruno Bettelheim's work was but one well-known ...
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This chapter focuses on parents emerging from the experience of wide-ranging psychogenic theorizing about autism during the 1950s and 1960s, of which Bruno Bettelheim's work was but one well-known example. Parents' accounts of their work during a period when the diagnostic category of autism was in flux highlight their unique authority as caregivers and “amateur” therapists. These accounts of parents' treatment activities make clear that expert knowledge and private life have continually intersected in the families of autistic children. The chapter examines how love, through parental efforts to help their children by training themselves in treatment practices, has functioned as a form of practice or technique in interventions to address the syndrome of autism. In both the case of the Orthogenic School's milieu therapy and parental work in behavior modification techniques, the affective involvement of “semiprofessionals” was key to what was experienced as the success of the interventions.Less
This chapter focuses on parents emerging from the experience of wide-ranging psychogenic theorizing about autism during the 1950s and 1960s, of which Bruno Bettelheim's work was but one well-known example. Parents' accounts of their work during a period when the diagnostic category of autism was in flux highlight their unique authority as caregivers and “amateur” therapists. These accounts of parents' treatment activities make clear that expert knowledge and private life have continually intersected in the families of autistic children. The chapter examines how love, through parental efforts to help their children by training themselves in treatment practices, has functioned as a form of practice or technique in interventions to address the syndrome of autism. In both the case of the Orthogenic School's milieu therapy and parental work in behavior modification techniques, the affective involvement of “semiprofessionals” was key to what was experienced as the success of the interventions.
R. Allen Lott
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195148831
- eISBN:
- 9780199869695
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148831.003.0001
- Subject:
- Music, History, Western
Several developments coalesced in the mid-1840s that encouraged a new influx of European musical performers to tour America, who were usually of a higher rank than those previously heard. These ...
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Several developments coalesced in the mid-1840s that encouraged a new influx of European musical performers to tour America, who were usually of a higher rank than those previously heard. These factors included the healthy economy of the United States, the abundance of virtuosos in Europe, and vast improvements in transportation (Atlantic steam travel greatly shortened the trip and increased its reliability). Even though many Europeans had serious doubts about the artistic sensibility of Americans, visiting pianists generally found a welcoming audience. Through its versatility as a solo and accompanying instrument, its newfound recognition in the concert room, its suitability in the home, where a rising number of musical amateurs made music for their own enjoyment and that of their friends, and its usefulness as a tool in music education, the piano had become by far the most important instrument in America.Less
Several developments coalesced in the mid-1840s that encouraged a new influx of European musical performers to tour America, who were usually of a higher rank than those previously heard. These factors included the healthy economy of the United States, the abundance of virtuosos in Europe, and vast improvements in transportation (Atlantic steam travel greatly shortened the trip and increased its reliability). Even though many Europeans had serious doubts about the artistic sensibility of Americans, visiting pianists generally found a welcoming audience. Through its versatility as a solo and accompanying instrument, its newfound recognition in the concert room, its suitability in the home, where a rising number of musical amateurs made music for their own enjoyment and that of their friends, and its usefulness as a tool in music education, the piano had become by far the most important instrument in America.
R. Allen Lott
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195148831
- eISBN:
- 9780199869695
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148831.003.0005
- Subject:
- Music, History, Western
Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because ...
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Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.Less
Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0002
- Subject:
- Music, History, Western
Haydn's first quartet, apparently composed during a period of work for Baron Carl Joseph Fürnberg in the mid-1750s, was soon followed by others of its type. Ten in all, the earliest quartets were ...
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Haydn's first quartet, apparently composed during a period of work for Baron Carl Joseph Fürnberg in the mid-1750s, was soon followed by others of its type. Ten in all, the earliest quartets were eventually published in Paris and Amsterdam and are now designated as Opp. “0”, 1, and 2. A fresh wave of inspiration beginning in the late 1760s produced three opus groups (Opp. 9, 17, and 20). The Op. 33 quartets (1781) came after a long hiatus in which Haydn yielded quartet leadership to Parisian and Viennese contemporaries. Focusing more intently on the genre from the mid-1780s on, Haydn produced a series of opus groups (including Opp. 50, 54/55, 64, 71/74, 76, and 77) targeted for an international market of amateurs and connoisseurs, and issued by publishers in London and Paris as well as Vienna. The spurious Op. 3 is now attributed to the Benedictine monk Roman Hofstetter.Less
Haydn's first quartet, apparently composed during a period of work for Baron Carl Joseph Fürnberg in the mid-1750s, was soon followed by others of its type. Ten in all, the earliest quartets were eventually published in Paris and Amsterdam and are now designated as Opp. “0”, 1, and 2. A fresh wave of inspiration beginning in the late 1760s produced three opus groups (Opp. 9, 17, and 20). The Op. 33 quartets (1781) came after a long hiatus in which Haydn yielded quartet leadership to Parisian and Viennese contemporaries. Focusing more intently on the genre from the mid-1780s on, Haydn produced a series of opus groups (including Opp. 50, 54/55, 64, 71/74, 76, and 77) targeted for an international market of amateurs and connoisseurs, and issued by publishers in London and Paris as well as Vienna. The spurious Op. 3 is now attributed to the Benedictine monk Roman Hofstetter.
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/9780195130737.003.0007
- Subject:
- Music, History, Western
Warsaw's salons, especially those principally dedicated to musical gatherings, provided the most interesting venue for serious music making. This chapter discusses the professional and amateur ...
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Warsaw's salons, especially those principally dedicated to musical gatherings, provided the most interesting venue for serious music making. This chapter discusses the professional and amateur musicians who were active in the salon scene, repertories favored within the salon settings — piano, vocal, and chamber music in particular — and the specifics of music-making in musical salons, especially those at the homes of Joseph Christoph Kessler and Józef and Anna Cichocki. For Chopin, much musical education came in the guise of salon chamber concerts, which included chamber transcriptions of orchestral music. Performances of this sort gave him the opportunity to become acquainted with repertories not heard in concert (by listening to or participating in performances). They also provided him with a venue through which he could test and customize his own compositions.Less
Warsaw's salons, especially those principally dedicated to musical gatherings, provided the most interesting venue for serious music making. This chapter discusses the professional and amateur musicians who were active in the salon scene, repertories favored within the salon settings — piano, vocal, and chamber music in particular — and the specifics of music-making in musical salons, especially those at the homes of Joseph Christoph Kessler and Józef and Anna Cichocki. For Chopin, much musical education came in the guise of salon chamber concerts, which included chamber transcriptions of orchestral music. Performances of this sort gave him the opportunity to become acquainted with repertories not heard in concert (by listening to or participating in performances). They also provided him with a venue through which he could test and customize his own compositions.
James Mitchell, Lynn Bennie, and Rob Johns
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199580002
- eISBN:
- 9780191731099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199580002.003.0003
- Subject:
- Political Science, UK Politics
This chapter charts the organizational changes in the SNP after devolution, drawing on the wider literature on political parties. Reforms introduced by John Swinney, as party leader, are outlined and ...
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This chapter charts the organizational changes in the SNP after devolution, drawing on the wider literature on political parties. Reforms introduced by John Swinney, as party leader, are outlined and the impacts these have had on the nature of the SNP are discussed: the selection of candidates and election of the party leader by the membership; the changing role of party conference; and declining role in policymaking of the activists.Less
This chapter charts the organizational changes in the SNP after devolution, drawing on the wider literature on political parties. Reforms introduced by John Swinney, as party leader, are outlined and the impacts these have had on the nature of the SNP are discussed: the selection of candidates and election of the party leader by the membership; the changing role of party conference; and declining role in policymaking of the activists.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0015
- Subject:
- Music, History, Western
Self-made music of the forefathers would mean that they probably could not read or write, certainly could not write down music, that they had nothing to guide them but their own intuition, no one to ...
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Self-made music of the forefathers would mean that they probably could not read or write, certainly could not write down music, that they had nothing to guide them but their own intuition, no one to please but themselves, only that mysterious impulse to self-expression which is latent in all if one does not deliberately stifle it. Music swells out. Two verses. That is one of the English folk-songs. Music fades out slowly. One of those tunes that the forefathers made by themselves and for themselves. One of those tunes which proves conclusively that the unmusical English are capable of creating beauty. In modern times one has come to differentiate between highly skilled professional music, which is made for the benefit of others by experts, and amateur music, which one makes to satisfy one's innate need of self expression. In a healthy musical commonwealth one wants both: the professional and the amateur.Less
Self-made music of the forefathers would mean that they probably could not read or write, certainly could not write down music, that they had nothing to guide them but their own intuition, no one to please but themselves, only that mysterious impulse to self-expression which is latent in all if one does not deliberately stifle it. Music swells out. Two verses. That is one of the English folk-songs. Music fades out slowly. One of those tunes that the forefathers made by themselves and for themselves. One of those tunes which proves conclusively that the unmusical English are capable of creating beauty. In modern times one has come to differentiate between highly skilled professional music, which is made for the benefit of others by experts, and amateur music, which one makes to satisfy one's innate need of self expression. In a healthy musical commonwealth one wants both: the professional and the amateur.
Geoffrey Cantor
- Published in print:
- 2005
- Published Online:
- February 2006
- ISBN:
- 9780199276684
- eISBN:
- 9780191603389
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199276684.003.0005
- Subject:
- Religion, History of Christianity
This chapter looks at nine different modes of scientific activity pursued by Quakers and Jews. These range from the wealthy amateur — including several Jews who pursued science in an upper-class, ...
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This chapter looks at nine different modes of scientific activity pursued by Quakers and Jews. These range from the wealthy amateur — including several Jews who pursued science in an upper-class, gentlemanly fashion — to the Jews and Quakers who traded in scientific specimens. Members of both communities used science in their professional engineering careers. Likewise, both communities produced educationalists who taught science through their lectures and textbooks. Another way in which science was deployed was in the scientific study of their own religious communities through the use of statistics. But there are also some interesting differences. For example, several 18th century Jews were attracted to Newton’s ideas, which were generally ignored by Quakers.Less
This chapter looks at nine different modes of scientific activity pursued by Quakers and Jews. These range from the wealthy amateur — including several Jews who pursued science in an upper-class, gentlemanly fashion — to the Jews and Quakers who traded in scientific specimens. Members of both communities used science in their professional engineering careers. Likewise, both communities produced educationalists who taught science through their lectures and textbooks. Another way in which science was deployed was in the scientific study of their own religious communities through the use of statistics. But there are also some interesting differences. For example, several 18th century Jews were attracted to Newton’s ideas, which were generally ignored by Quakers.
Annamaria Motrescu-Mayes and Heather Norris Nicholson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474420730
- eISBN:
- 9781474453530
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420730.001.0001
- Subject:
- Film, Television and Radio, Film
In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and ...
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In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women AmateurFilmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over forty women amateur filmmakers. Whether in remote communities, suburban homes, castles, missionary or diplomatic enclaves, or simply travelling as intrepid sightseers, women filmed their companions, other people and their surroundings, not only as observers but often displaying agency, autonomy and aesthetic judgment during decades when careers, particularly after marriage, were often denied in film and other professions. Research across Britain on films in private hands and specialist archives, interviews and extensive study of the Institute of Amateur Cinematographers (IAC's) collections enable the authors to reposition an activity once thought of as overwhelmingly male and middle class.Less
In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women AmateurFilmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over forty women amateur filmmakers. Whether in remote communities, suburban homes, castles, missionary or diplomatic enclaves, or simply travelling as intrepid sightseers, women filmed their companions, other people and their surroundings, not only as observers but often displaying agency, autonomy and aesthetic judgment during decades when careers, particularly after marriage, were often denied in film and other professions. Research across Britain on films in private hands and specialist archives, interviews and extensive study of the Institute of Amateur Cinematographers (IAC's) collections enable the authors to reposition an activity once thought of as overwhelmingly male and middle class.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- March 2012
- ISBN:
- 9780192129260
- eISBN:
- 9780191670008
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129260.003.0004
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter focuses on the emergence of wireless amateurs and broadcasting professionals in Great Britain in 1920. It argues that the enthusiasm of the amateurs filed the gap between the cessation ...
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This chapter focuses on the emergence of wireless amateurs and broadcasting professionals in Great Britain in 1920. It argues that the enthusiasm of the amateurs filed the gap between the cessation of the Marconi Company's experiments and the authorization of short regular broadcast programmes of words and music in January 1922. It explains that the Postmaster-General rescinded his veto on broadcasting after receiving a petition signed by representatives of sixty-three wireless societies with more than 3,000 members. After the decision of the Postmaster-General, the Marconi Company was able to launch its first broad on February 14, 1922 in Writtle, which served as the nucleus of the brain trusts of the technical side of British broadcasting.Less
This chapter focuses on the emergence of wireless amateurs and broadcasting professionals in Great Britain in 1920. It argues that the enthusiasm of the amateurs filed the gap between the cessation of the Marconi Company's experiments and the authorization of short regular broadcast programmes of words and music in January 1922. It explains that the Postmaster-General rescinded his veto on broadcasting after receiving a petition signed by representatives of sixty-three wireless societies with more than 3,000 members. After the decision of the Postmaster-General, the Marconi Company was able to launch its first broad on February 14, 1922 in Writtle, which served as the nucleus of the brain trusts of the technical side of British broadcasting.
Erik N. Jensen
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195395648
- eISBN:
- 9780199866564
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195395648.003.0002
- Subject:
- History, Cultural History, European Modern History
Tennis players in the 1920s expressed an unabashed sexuality and visible pursuit of fine living that appeared liberating to many Germans after the years of wartime and postwar austerity. Male players ...
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Tennis players in the 1920s expressed an unabashed sexuality and visible pursuit of fine living that appeared liberating to many Germans after the years of wartime and postwar austerity. Male players lavished attention on their personal grooming, style, and romantic liaisons, in open defiance of the Prussian ideal of discipline and self‐control. Instead, they modelled an alternative masculinity around aesthetic sensibility and self‐indulgence. Female players, meanwhile, projected a new aggressivity in matters financial and sexual, as well as athletic. Some top players even flouted the sport's amateur imperative by turning professional, pioneering the use of sports as an avenue of upward mobility, and modelling the possibilities of the “self‐made woman.”Less
Tennis players in the 1920s expressed an unabashed sexuality and visible pursuit of fine living that appeared liberating to many Germans after the years of wartime and postwar austerity. Male players lavished attention on their personal grooming, style, and romantic liaisons, in open defiance of the Prussian ideal of discipline and self‐control. Instead, they modelled an alternative masculinity around aesthetic sensibility and self‐indulgence. Female players, meanwhile, projected a new aggressivity in matters financial and sexual, as well as athletic. Some top players even flouted the sport's amateur imperative by turning professional, pioneering the use of sports as an avenue of upward mobility, and modelling the possibilities of the “self‐made woman.”
Debra A. Shattuck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780252040375
- eISBN:
- 9780252098796
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040375.001.0001
- Subject:
- Sociology, Sport and Leisure
This book is the first to document the transformation of America’s national pastime from a gender-neutral sport into a highly-gendered “man’s game.” For decades, most modern scholars of sport have ...
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This book is the first to document the transformation of America’s national pastime from a gender-neutral sport into a highly-gendered “man’s game.” For decades, most modern scholars of sport have assumed that baseball was, and always has been, a man’s game. Yet baseball began as a gender-neutral “blank slate” upon which adult men and women wrote their gendered narratives and then taught those narratives to their children. Baseball’s gendered future was never inevitable nor was it quickly solidified or uncontested. Every decade of the nineteenth century saw more girls and women playing and watching baseball than in previous decades. Yet the narrative of baseball as a man’s game gained momentum in each successive decade well into the twentieth century. The book describes the process through which the history of women baseball players became distorted by myth and misperception even as girls and women played on the same types of teams that boys and men did, including scholastic/collegiate, civic/pick-up, amateur/professional and factory teams. The book places the evolution of baseball’s gendered characterization into the broader context of American sport and culture, and describes how professional interests wrested control of the game’s institutional structures, culture, and social interactions from amateur interests.Less
This book is the first to document the transformation of America’s national pastime from a gender-neutral sport into a highly-gendered “man’s game.” For decades, most modern scholars of sport have assumed that baseball was, and always has been, a man’s game. Yet baseball began as a gender-neutral “blank slate” upon which adult men and women wrote their gendered narratives and then taught those narratives to their children. Baseball’s gendered future was never inevitable nor was it quickly solidified or uncontested. Every decade of the nineteenth century saw more girls and women playing and watching baseball than in previous decades. Yet the narrative of baseball as a man’s game gained momentum in each successive decade well into the twentieth century. The book describes the process through which the history of women baseball players became distorted by myth and misperception even as girls and women played on the same types of teams that boys and men did, including scholastic/collegiate, civic/pick-up, amateur/professional and factory teams. The book places the evolution of baseball’s gendered characterization into the broader context of American sport and culture, and describes how professional interests wrested control of the game’s institutional structures, culture, and social interactions from amateur interests.
GILLIAN RUSSELL
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198122630
- eISBN:
- 9780191671500
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122630.003.0007
- Subject:
- Literature, Drama
Although Tate Wilkinson was found to be one of the most respected and successful people in provincial theatre, his thoughts regarding the performance of The Fair Penitent demonstrate that he had to ...
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Although Tate Wilkinson was found to be one of the most respected and successful people in provincial theatre, his thoughts regarding the performance of The Fair Penitent demonstrate that he had to experience struggles so that his personal and professional respectability became recognized. The façade of the dominant theatrical culture in Britain, exhibited through the various patent houses in the provinces and in London, hides a different kind of rural theatre which involves staging performances in fairground booths, in barns, and in the open-air. In 1788, a change in the law classified all actors, regardless of their status, as craftsmen, yet acting was still associated with criminality and immorality. In this chapter, the author considers looking into the American War of Independence, the British administration of the Cape of Good Hope, and the War of 1812 to analyse the significance of amateur theatricals.Less
Although Tate Wilkinson was found to be one of the most respected and successful people in provincial theatre, his thoughts regarding the performance of The Fair Penitent demonstrate that he had to experience struggles so that his personal and professional respectability became recognized. The façade of the dominant theatrical culture in Britain, exhibited through the various patent houses in the provinces and in London, hides a different kind of rural theatre which involves staging performances in fairground booths, in barns, and in the open-air. In 1788, a change in the law classified all actors, regardless of their status, as craftsmen, yet acting was still associated with criminality and immorality. In this chapter, the author considers looking into the American War of Independence, the British administration of the Cape of Good Hope, and the War of 1812 to analyse the significance of amateur theatricals.
Josephine Mcdonagh
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780198112853
- eISBN:
- 9780191670862
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112853.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
De Quincey, as he expressed in ‘Letters to a Young Man whose Education has been Neglected’, experiences a certain degree of discomfort when he enters a library. He felt misery upon realizing that he ...
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De Quincey, as he expressed in ‘Letters to a Young Man whose Education has been Neglected’, experiences a certain degree of discomfort when he enters a library. He felt misery upon realizing that he would not be able to read all of the books that the library contains as his life is finite, and he articulates this in terms of a mathematical sublime in which something with great magnitude is in contrast with itself. De Quincey concerned himself with the printing expansion and book circulations during the first part of the nineteenth century, since this allowed the wide spread of seditious material, and he found the printing industry to represent the various changes and industrialization that would soon shape society. As changes in social class and demography will be experienced, industrial production is found to be a problem of consumer choice. In this chapter, we analyse literary criticisms regarding market problems and how the consumers may be classified as the amateur or general reader, and the critic or professional reader.Less
De Quincey, as he expressed in ‘Letters to a Young Man whose Education has been Neglected’, experiences a certain degree of discomfort when he enters a library. He felt misery upon realizing that he would not be able to read all of the books that the library contains as his life is finite, and he articulates this in terms of a mathematical sublime in which something with great magnitude is in contrast with itself. De Quincey concerned himself with the printing expansion and book circulations during the first part of the nineteenth century, since this allowed the wide spread of seditious material, and he found the printing industry to represent the various changes and industrialization that would soon shape society. As changes in social class and demography will be experienced, industrial production is found to be a problem of consumer choice. In this chapter, we analyse literary criticisms regarding market problems and how the consumers may be classified as the amateur or general reader, and the critic or professional reader.
Tiffany Stern
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780199229727
- eISBN:
- 9780191696367
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199229727.003.0004
- Subject:
- Literature, Drama
This chapter focuses on the years 1640–1710 — the ‘Restoration period’. Buckingham's play The Rehearsal provides an initial focus, distanced as it is from actual English rehearsal by its author's ...
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This chapter focuses on the years 1640–1710 — the ‘Restoration period’. Buckingham's play The Rehearsal provides an initial focus, distanced as it is from actual English rehearsal by its author's familiarity with the French method. The early Restoration theatre is investigated, with a look at what it inherited from Elizabethan performance practice and what it borrowed from the Continent. It examines rehearsal itself, from the distribution and learning of parts, to the group rehearsal and production of plays. This chapter focuses on both amateur authors, who were generally excluded from the preparation of their plays, and on professional authors, who are shown losing power to the manager and the actors. It also examines the nature of extant texts and the effect the first night has on textual stability.Less
This chapter focuses on the years 1640–1710 — the ‘Restoration period’. Buckingham's play The Rehearsal provides an initial focus, distanced as it is from actual English rehearsal by its author's familiarity with the French method. The early Restoration theatre is investigated, with a look at what it inherited from Elizabethan performance practice and what it borrowed from the Continent. It examines rehearsal itself, from the distribution and learning of parts, to the group rehearsal and production of plays. This chapter focuses on both amateur authors, who were generally excluded from the preparation of their plays, and on professional authors, who are shown losing power to the manager and the actors. It also examines the nature of extant texts and the effect the first night has on textual stability.
S. P. Mackenzie
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198205777
- eISBN:
- 9780191676789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205777.003.0002
- Subject:
- History, British and Irish Modern History, Military History
This chapter examines the history of the amateur military tradition in England during the period from 1558 to 1939, which might have produced the Home Guard in 1940. This tradition is deep-rooted and ...
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This chapter examines the history of the amateur military tradition in England during the period from 1558 to 1939, which might have produced the Home Guard in 1940. This tradition is deep-rooted and its origins date back to the formation of trained bands in the 16th century and to the raising of the Saxon fyrd. Despite the establishment of the first true standing army in 1689, there remained strong support for the continuation of amateur forces under some degree of local control.Less
This chapter examines the history of the amateur military tradition in England during the period from 1558 to 1939, which might have produced the Home Guard in 1940. This tradition is deep-rooted and its origins date back to the formation of trained bands in the 16th century and to the raising of the Saxon fyrd. Despite the establishment of the first true standing army in 1689, there remained strong support for the continuation of amateur forces under some degree of local control.
Andrew Talle
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780252040849
- eISBN:
- 9780252099342
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252040849.001.0001
- Subject:
- Music, History, Western
This book investigates the musical life of Johann Sebastian Bach’s Germany from the perspectives of those who lived in it. The men, women, and children of the era are treated here not as extras in ...
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This book investigates the musical life of Johann Sebastian Bach’s Germany from the perspectives of those who lived in it. The men, women, and children of the era are treated here not as extras in the life of a famous composer but rather as protagonists in their own right. The primary focus is on keyboard music, from those who built organs, harpsichords, and clavichords, to those who played keyboards recreationally and professionally, and those who supported their construction through patronage. Examples include: Barthold Fritz, a clavichord maker who published a list of his customers; Christiane Sibÿlla Bose, an amateur keyboardist and close friend of Bach’s wife; the Countesses zu Epstein, whose surviving library documents the musical interests of teenage girls of the era; Luise Gottsched, who found Bach’s music less appealing than that of Handel; Johann Christoph Müller, a keyboard instructor who fell in love with one of his aristocratic pupils; and Carl August Hartung, a professional organist and fanatical collector of Bach’s keyboard music. The book draws on published novels, poems, and visual art as well as manuscript account books, sheet music, letters, and diaries. For most music lovers of the era, J. S. Bach himself was an impressive figure whose music was too challenging to hold a prominent place in their musical lives.Less
This book investigates the musical life of Johann Sebastian Bach’s Germany from the perspectives of those who lived in it. The men, women, and children of the era are treated here not as extras in the life of a famous composer but rather as protagonists in their own right. The primary focus is on keyboard music, from those who built organs, harpsichords, and clavichords, to those who played keyboards recreationally and professionally, and those who supported their construction through patronage. Examples include: Barthold Fritz, a clavichord maker who published a list of his customers; Christiane Sibÿlla Bose, an amateur keyboardist and close friend of Bach’s wife; the Countesses zu Epstein, whose surviving library documents the musical interests of teenage girls of the era; Luise Gottsched, who found Bach’s music less appealing than that of Handel; Johann Christoph Müller, a keyboard instructor who fell in love with one of his aristocratic pupils; and Carl August Hartung, a professional organist and fanatical collector of Bach’s keyboard music. The book draws on published novels, poems, and visual art as well as manuscript account books, sheet music, letters, and diaries. For most music lovers of the era, J. S. Bach himself was an impressive figure whose music was too challenging to hold a prominent place in their musical lives.
Richard Pares
- Published in print:
- 1988
- Published Online:
- October 2011
- ISBN:
- 9780198811305
- eISBN:
- 9780191695438
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198811305.003.0001
- Subject:
- History, British and Irish Modern History
This chapter interprets British politics in terms of local or personal connections and family prestige, and describes the distribution of political power between classes in the eighteenth century. In ...
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This chapter interprets British politics in terms of local or personal connections and family prestige, and describes the distribution of political power between classes in the eighteenth century. In the House of Commons, there were some independent members of the governing class who might, according to circumstances, sacrifice much or little of their independence; and these sat beside other members of same class, who could only be regarded as professional politicians, in that they depended on making a career in the office. The exact difference between these two parts of the class is not easily stated. In that age, there were public men who valued their ‘amateur status’ absurdly high. These amateurs liked to think that the professionals were of inferior family.Less
This chapter interprets British politics in terms of local or personal connections and family prestige, and describes the distribution of political power between classes in the eighteenth century. In the House of Commons, there were some independent members of the governing class who might, according to circumstances, sacrifice much or little of their independence; and these sat beside other members of same class, who could only be regarded as professional politicians, in that they depended on making a career in the office. The exact difference between these two parts of the class is not easily stated. In that age, there were public men who valued their ‘amateur status’ absurdly high. These amateurs liked to think that the professionals were of inferior family.
Peter N. Miller
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780801453700
- eISBN:
- 9781501708244
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801453700.001.0001
- Subject:
- History, History of Ideas
Cultural history is increasingly informed by the history of material culture—the ways in which individuals or entire societies create and relate to objects both mundane and extraordinary—rather than ...
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Cultural history is increasingly informed by the history of material culture—the ways in which individuals or entire societies create and relate to objects both mundane and extraordinary—rather than on textual evidence alone. Books such as The Hare with Amber Eyes and A History of the World in 100 Objects indicate the growing popularity of this way of understanding the past. This book uncovers the forgotten origins of our fascination with exploring the past through its artifacts by highlighting the role of antiquarianism—a pursuit ignored and derided by modem academic history—in grasping the significance of material culture. From the efforts of Renaissance antiquarians, who reconstructed life in the ancient world from coins, inscriptions, seals, and other detritus, to amateur historians in the nineteenth century working within burgeoning national traditions, the book connects collecting—whether by individuals or institutions—to the professionalization of the historical profession, one which came to regard its progenitors with skepticism and disdain. The struggle to articulate the value of objects as historical evidence, then, lies at the heart both of academic history writing and of the popular engagement with things. Ultimately, this book demonstrates that our current preoccupation with objects is far from novel and reflects a human need to re-experience the past as a physical presence.Less
Cultural history is increasingly informed by the history of material culture—the ways in which individuals or entire societies create and relate to objects both mundane and extraordinary—rather than on textual evidence alone. Books such as The Hare with Amber Eyes and A History of the World in 100 Objects indicate the growing popularity of this way of understanding the past. This book uncovers the forgotten origins of our fascination with exploring the past through its artifacts by highlighting the role of antiquarianism—a pursuit ignored and derided by modem academic history—in grasping the significance of material culture. From the efforts of Renaissance antiquarians, who reconstructed life in the ancient world from coins, inscriptions, seals, and other detritus, to amateur historians in the nineteenth century working within burgeoning national traditions, the book connects collecting—whether by individuals or institutions—to the professionalization of the historical profession, one which came to regard its progenitors with skepticism and disdain. The struggle to articulate the value of objects as historical evidence, then, lies at the heart both of academic history writing and of the popular engagement with things. Ultimately, this book demonstrates that our current preoccupation with objects is far from novel and reflects a human need to re-experience the past as a physical presence.
