Looking And Listening In Nineteenth Century France
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Author | : Martha Ward |
Publisher | : Smart Museum of Art, the University of C |
Total Pages | : 116 |
Release | : 2007 |
Genre | : Art |
ISBN | : |
Different eras experience art in different ways--often dramatically so. Looking and Listening in Nineteenth-Century France, the catalog to an exhibition at the Smart Museum of Art, uses a selection of prints, paintings, drawings, sculptures, and recorded music to demonstrate how new technological developments and changing social settings transformed the French experience of art in the nineteenth century. Treating a disparate range of subject matter from Joan of Arc to Homer, from concert audiences to comet sightings, the contributors provide a cultural context for this flowering of imagery concerned with looking and listening. They also explore how artists and composers sought to better capture the attention of their beholders and listeners. Presenting the achievements of both well known artists (Daumier, Degas, Fantin-Latour, Vuillard) and lesser known figures in a fresh light, Looking and Listening in Nineteenth-Century France cuts to the heart of debates about the function of art and the role of audiences. The catalog includes a special CD compilation of music relating to the works in the exhibition, along with two bonus tracks of early recordings.
Author | : Elizabeth Latimer |
Publisher | : |
Total Pages | : |
Release | : 2004 |
Genre | : |
ISBN | : |
Author | : Christian Thorau |
Publisher | : |
Total Pages | : 545 |
Release | : 2019 |
Genre | : Music |
ISBN | : 0190466960 |
An idealized image of European concert-goers has long prevailed in historical overviews of the nineteenth and twentieth centuries. This act of listening was considered to be an invisible and amorphous phenomenon, a naturally given mode of perception. This narrative influenced the conditions of listening from the selection of repertoire to the construction of concert halls and programmes. However, as listening moved from the concert hall to the opera house, street music, and jazz venues, new and visceral listening traditions evolved. In turn, the art of listening was shaped by phenomena of the modern era including media innovation and commercialization. This Handbook asks whether, how, and why practices of music listening changed as the audience moved from pleasure gardens and concert venues in the eighteenth century to living rooms in the twentieth century, and mobile devices in the twenty-first. Through these questions, chapters enable a differently conceived history of listening and offer an agenda for future research.
Author | : Robin Mitchell |
Publisher | : University of Georgia Press |
Total Pages | : 209 |
Release | : 2020-02-15 |
Genre | : History |
ISBN | : 0820354333 |
Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country’s postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution. Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France’s need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.
Author | : |
Publisher | : |
Total Pages | : 74 |
Release | : 1980 |
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ISBN | : |
Author | : Elizabeth Wormeley Latimer |
Publisher | : Forgotten Books |
Total Pages | : 542 |
Release | : 2018-03-16 |
Genre | : History |
ISBN | : 9780364734223 |
Excerpt from France in the Nineteenth Century, 1830-1890 Before the Revolution, Louis XVIII. Had been known sometimes as the Comte de Provence, and sometimes as Monsieur. Though physically an inert man, he was by no means intellectually stupid, for he could say very brilliant things from time to time, and was very proud Of them; but he was wholly unfit to be at the helm of the ship Of state I. In an unquiet sea. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author | : David B. Cass |
Publisher | : |
Total Pages | : 48 |
Release | : 1987-02-01 |
Genre | : |
ISBN | : 9780931102066 |
Author | : Koenraad W. Swart |
Publisher | : Springer Science & Business Media |
Total Pages | : 282 |
Release | : 2013-11-11 |
Genre | : History |
ISBN | : 9401196737 |
"It was the best oftimes. It was the worst oftimes. " The famous open ing sentence ofCharles Dickens' Tale oJ Two Cities can serve as a motto to characterize the mixture of optimism and pessimism with which a large number of nineteenth-century intellectuals viewed the con dition of their age. It is nowadays hardly necessary to accentuate the optimistic elements in the nineteenth-century view of history; many recent historians have sharply contrasted the complacency and the great expectations of the past century with the fears and anxieties rampant in our own age. It is often too readily assumed that a hundred years ago all leading thinkers as weil as the educated public were addicted to the cult of progress and ignored or minimized those trends of their times that paved the way for the catastrophes of the twentieth century. In the nineteenth century the intoxicating triumphs of modern science undeniably induced the general public to believe that pro gress was not an accident but a necessity and that evil and immo rality would gradually disappear. Yet fears, misgivings, and anxieties were not as exceptional in the nineteenth century as is often imagined. Such feelings were not restricted to a few dissenting philosophers and poets like Schopenhauer, Kierkegaard, 'Dostoevsky, Baudelaire, and Nietzsche.
Author | : Nigel Harkness |
Publisher | : Peter Lang |
Total Pages | : 340 |
Release | : 2003 |
Genre | : History |
ISBN | : 9783039101405 |
The essays in this volume contribute diversely towards a revision and a reconceptualization of nineteenth-century France, with many adopting interdisciplinary methodologies attentive to the interplay between literature, history, art, popular and high culture, politics and science.
Author | : Cheryll May |
Publisher | : Cambridge Scholars Publishing |
Total Pages | : 215 |
Release | : 2014-03-17 |
Genre | : Art |
ISBN | : 1443857475 |
In recent years, American art scholars have increasingly focused on the importance of cross-cultural exchanges during the nineteenth century. As essayist François Brunet puts it, mid-nineteenth century landscapes were “transnational . . . permeated by complex transactions where ‘American’ originality produced itself not only in imitation of or reaction against ‘European’ influences, . . . but as critical mirroring and incorporating of ‘European’ images.” Articles in this collection make clear that the “conversation of cultures” went both ways, with American artworks and culture also affecting European artistic and literary practice. Essays explore the transnational origin of many types of American artworks, from stained glass windows, which usually copied their European originals with great exactitude, to paintings and sculptures using distinctly American motifs, such as the Puritan and the cowboy, to distinguish American art students from their Parisian masters. It also examines American cultural icons, particularly the American Indian, appropriated by European writers, artists, and philosophers to embody primeval wisdom. A distinguished international group of scholars, including Brunet, Robert Rydell, and Peter Gibian, offer valuable perspectives on the ever-broadening field of transnational cultural studies.