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Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Critical Perspectives on the European Mediasphere
THE RESEARCHING AND TEACHING COMMUNICATION SERIES THE RESEARCHING AND TEACHING COMMUNICATION SERIES CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE THE INTELLECTUAL WORK OF THE 2011 ECREA EUROPEAN MEDIA AND COMMUNICATION DOCTORAL SUMMER SCHOOL Ljubljana, 2011 CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE. The Intellectual Work of the 2011 ECREA European Media and Communication Doctoral Summer School. Edited by: Ilija Tomanić Trivundža, Nico Carpentier, Hannu Nieminen, Pille Pruulmann-Venerfeldt, Richard Kilborn, Ebba Sundin and Tobias Olsson. Series: The Researching And Teaching Communication Series Series editors: Nico Carpentier and Pille Pruulmann-Venerfeldt Published by: Faculty of Social Sciences: Založba FDV For publisher: Hermina Krajnc Copyright © Authors 2011 All rights reserved. Reviewer: Mojca Pajnik Book cover: Ilija Tomanić Trivundža Design and layout: Vasja Lebarič Language editing: Kyrill Dissanayake Photographs: Ilija Tomanić Trivundža, François Heinderyckx, Andrea Davide Cuman, and Jeoffrey Gaspard. Printed by: Tiskarna Radovljica Print run: 400 copies Electronic version accessible at: http://www.researchingcommunication.eu The 2011 European Media and Communication Doctoral Summer School (Ljubljana, August 14-27) was supported by the Lifelong Learning Programme Erasmus Intensive Programme project (grant agreement reference number: 2010-7242), the University of Ljubljana – the Department of Media and Communication Studies and the Faculty of Social Sciences, a consortium of 22 universi- ties, and the Slovene Communication -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
Monism and Synaesthesia;
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives Monism and Synaesthesia; Two metaphysical concepts in the Art of Edvard Munch Sophia Oftedahl Thesis (“hovedoppgave”) in the History of Art, Spring 2007 Department of Philosophy, Classics, History of Art and Ideas Faculty of Humanities University of Oslo Dedicated to the memory of my mother Paula Flittmann, nee Segal 2 Table of Contents Preface………………………………………………………………………………………..v Summary……………………………………………………………………………………..ix Chapter I: Introduction………………………………………………………………..……1 Background……………………………………………………………………………………1 Delimitation of the topic………………………………………………………………...…….4 The main focus of the thesis…………………………………………………………………..5 Monism…………………………………………………………………………………….5 Synaesthesia …………………………………………………………………………….…5 What has been done before……………………………………………………………………6 Method…………………………………………………………………………………...……6 The size………………………………………………………………………………………..7 Misogyny……………………………………………………………………………………...7 What? – Why? – How? ……………………………………………………………………….8 I – What is the general content of Munch’s art?.....................................................................8 - “Art is the daughter of the divine.”…………………………………………...…9 - Painting the unseen……………………………………………………………..9 II – Why did Munch choose to deal with metaphysical topics in his art?............................11 - Death at the Helm..........................................................................................12 III – How did Munch paint that -
The Interjurisdictional Migration of European Authors of Liberty, 1660 – 1961: a Quantitative Analysis1
1 January 12, 2016 THE INTERJURISDICTIONAL MIGRATION OF EUROPEAN AUTHORS OF LIBERTY, 1660 – 1961: A QUANTITATIVE ANALYSIS1 Niklas Potrafke2 Roland Vaubel3 Abstract Hume, Montesquieu and Kant were the first to suggest that the rise of liberty in Europe and the West has been due to political fragmentation and competition among rulers because the creative elites had the option of leaving the country in response to political repression. In this paper we estimate the extent to which emigrating authors of liberty actually reacted to such political and economic factors. We distinguish four types of repressive political events: restoration of an authoritarian monarchy, suppression of liberal protests, takeover by a totalitarian regime and occupation by a foreign repressive power. We test for additional explanations of emigration. Our sample of well-known authors of liberty includes 401 persons from twenty European countries in 1660 to 1961. Our logistic regressions yield the following main results. The repressive events did have significant and large effects on emigration with lags of up to five years. Emigration was also influenced by the author’s occupation and interjurisdictional income differentials. The probability of emigration was larger if the author was of middle age and lived in a small country but these effects were numerically small. The decision to emigrate was not affected by the author’s education. JEL classifications: F22, N33, Z18 _______________ 1 Acknowledgements: The authors thank Daniel Mannfeld, Felix Weber, Georg Arndt and Justina Fischer for tabulating the data and Justina Fischer and Jonathan Seiler for retrieving some of the data. We received helpful comments from Dennis Snower, David Stadelmann, Bengt-Arne Wickström and the participants of the World Public Choice Society Meetings 2012, the Silvaplana Workshop on Political Economy 2013, the CESifo Political Economy Workshop 2013 and two anonymous referees. -
Downloaded from Brill.Com10/06/2021 12:07:02PM Via Free Access 332 Th E Dream of the North Science, Technology, Progress, Urbanity, Industry, and Even Perfectibility
5. Th e Northern Heyday: 1830–1880 Tipping the Scales In Europe, the mid-nineteenth century witnessed a decisive change in the relative strength of North and South, confi rming a long-term trend that had been visible for a hundred years, and that had accelerated since the fall of Bonaparte. Great Britain was clearly the main driving force behind this development, but by no means the only one. Such key statistical indicators as population growth and GDP show an unquestionable strengthening in several of the northern nations. A comparison between, for instance, Britain, Germany and the Nordic countries, on the one hand, and France, Spain and Italy, on the other, shows that in 1830, the population of the former group was signifi cantly lower than that of the latter, i.e. 58 vs. 67 million.1 By 1880, the balance had shifted decisively in favour of the North, with 90 vs. 82 million. With regard to GDP, the trend is even more explicit. Available estimates from 1820 show that the above group of northern countries together had a GDP of approximately 67 billion dollars, as compared to 69 billion for the southern countries. In 1870, the GDP of the South had risen to 132 billion (a 91 percent increase), but that of the North to 187 billion (179 percent increase).2 During the 1830–1880 period, the Russian population similarly grew from 56 to 98 million, representing by far the biggest nation in the West, whereas the United States was rapidly climbing from only 13 to 50 million, and Canada from 1 to 4 million (“Population Statistics”, 2006). -
Interpreters of Life and the Modern Spirit
THIS BOOK IS FROM THE LIBRARY OF Rev. James Leach Digitized by tine Internet Arciiive in 2010 witin funding from University of Toronto littp://www.arcliive.org/details/interpretersoflOOIiend nterpreters of Li I and the Modern Spin by Archibald Henderson LONDON DUCKWORTH AND CO. 3 Henrietta Street, W. C. 1911 ^^\B R A^l"^ Printed by The Manhattan Press New York, U. S. A. To my Father and Mother, the Two who guided my first steps in the paths of literature, this venture into its wider fields is with all devotion dedicated. INTERPRETERS OF LIFE George Meredith . I Oscar Wilde 35 Maurice Maeterlinck 105 Henrik Ibsen 157 I. The evolution of his mind and art 159 II. The genesis of his dramas 243 George Bernard Shaw 285 The frontispiece is a photogravure from an unpub- lished picture of George Meredith by Alvin Langdon Coburn. GEORGE MEREDITH "Then, ah! then . will the novelists* Art, now neither blushless infant nor executive man, have attained its majority. We can then he veraciously historical, honestly transcriptive. Rose-pink and dirty drab will alike have passed away. Philosophy is the foe of both, and their silly cancelling contest, perpetually renewed in a shuffle of extremes, as it always is where a phantasm falseness reigns, will no longer baffle the contemplation of natural flesh, smother no longer the soul issuing out of our incessant strife. Philosophy bids us to see that we are not so pretty as rose-pink, not so repulsive as dirty drab; and that, instead of everlastingly shifting those barren aspects, the sight of ourselves is wholesome, bearable, fructifying, finally a de- light. -
Norse Women As Material for Modern Writing
NORSE WOMEN AS MATERIAL FOR MODERN WRITING * RAMONA SIMU Ţ ABSTRACT. In the dawn of modernism, when most European cultural forums began to rede- fine the new structures of authority that better suited the social and political paradigms of their new turfs, the Northern countries were suddenly faced with original social and artistic move- ments prompted by the so-called “women emancipation”. In the 1870’ Denmark and Norway, this new wave was boldly christened the Danks/Norlsk Kvindesamfund (Danish/Norwegian Women Society), which is otherwise known as the next logical step towards restructuring social policies, while the first step was to legalize the United Left or the Liberal Party which support- ed the reforms brought on the continent by the international workers’ associations. Just like in the social sphere, these r evolutionizing ideas about women’s role in public and private life were promoted in literature by the contribution of already established male writers who gave voice to iconic female characters, and the case of Ibsen creating his Nora based on a real model is axiomatic. In what follows we will be looking at such “materials” in both masculine and femi- nine writings throughout 19 th century Norwegian literature, with a hint to the messianic, vi- sionary, realistic, and shocking perspectives that this sort of material had to offer to their re- spective readers. An important conclusion will be that the type of woman born under their pen name is not even remotely the fitting feminist profile of today’s novels; it rather mirrors the idea of normality which these writers wished for their country, and a reminder that social pow- er networks are superfluo us without women’s lucidity. -
The Unique Cultural & Innnovative Twelfty 1820
Chekhov reading The Seagull to the Moscow Art Theatre Group, Stanislavski, Olga Knipper THE UNIQUE CULTURAL & INNNOVATIVE TWELFTY 1820-1939, by JACQUES CORY 2 TABLE OF CONTENTS No. of Page INSPIRATION 5 INTRODUCTION 6 THE METHODOLOGY OF THE BOOK 8 CULTURE IN EUROPEAN LANGUAGES IN THE “CENTURY”/TWELFTY 1820-1939 14 LITERATURE 16 NOBEL PRIZES IN LITERATURE 16 CORY'S LIST OF BEST AUTHORS IN 1820-1939, WITH COMMENTS AND LISTS OF BOOKS 37 CORY'S LIST OF BEST AUTHORS IN TWELFTY 1820-1939 39 THE 3 MOST SIGNIFICANT LITERATURES – FRENCH, ENGLISH, GERMAN 39 THE 3 MORE SIGNIFICANT LITERATURES – SPANISH, RUSSIAN, ITALIAN 46 THE 10 SIGNIFICANT LITERATURES – PORTUGUESE, BRAZILIAN, DUTCH, CZECH, GREEK, POLISH, SWEDISH, NORWEGIAN, DANISH, FINNISH 50 12 OTHER EUROPEAN LITERATURES – ROMANIAN, TURKISH, HUNGARIAN, SERBIAN, CROATIAN, UKRAINIAN (20 EACH), AND IRISH GAELIC, BULGARIAN, ALBANIAN, ARMENIAN, GEORGIAN, LITHUANIAN (10 EACH) 56 TOTAL OF NOS. OF AUTHORS IN EUROPEAN LANGUAGES BY CLUSTERS 59 JEWISH LANGUAGES LITERATURES 60 LITERATURES IN NON-EUROPEAN LANGUAGES 74 CORY'S LIST OF THE BEST BOOKS IN LITERATURE IN 1860-1899 78 3 SURVEY ON THE MOST/MORE/SIGNIFICANT LITERATURE/ART/MUSIC IN THE ROMANTICISM/REALISM/MODERNISM ERAS 113 ROMANTICISM IN LITERATURE, ART AND MUSIC 113 Analysis of the Results of the Romantic Era 125 REALISM IN LITERATURE, ART AND MUSIC 128 Analysis of the Results of the Realism/Naturalism Era 150 MODERNISM IN LITERATURE, ART AND MUSIC 153 Analysis of the Results of the Modernism Era 168 Analysis of the Results of the Total Period of 1820-1939 -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Rees Ellen.Indd
Ellen Rees University of Oslo [email protected] Bjerregaard’s (and Thrane’s, Wergeland’s, Aasen’s, Ibsen’s, Bjørnson’s, and Garborg’s) Fjeldeventyret (1825, 1844, 1853, 1857, 1865, and 1925) In 1825 the cultural elite in Christiania hailed Henrik Anker Bjerregaard and Waldemar �rane’s Fjeldeventyret as the �rst Norwegian national drama. In the century that followed concerted efforts were made to maintain this light musical drama’s status as a foundational national text, yet today it has all but disappeared from the canon. �is paper explores the ways in which major literary �gures such as Henrik Wergeland, Henrik Ibsen, Bjørnstjerne Bjørnson, Ivar Aasen, and Arne Garborg attempted to rework and frame the text. I will consider two modes of translation or adaptation: on the one hand Bjerregaard’s in�uential transformation of certain topographical features into consciously nationalist literary motifs, and on the other hand the strategies that the other authors employed to strengthen the status of Fjeldeventyret as a foundational text. Writing in 1966, Knut Nygaard argues that “Fjeldeventyrets litteratur- historiske betydning ligger ikke bare i det at det var det første full- stendige norske scenestykke skrevet etter 1814 som ble fremført i �alias tempel. Det var også det første levedyktige norske dikterverk med norsk natur og folkeliv, norsk språktone og norske mennesketyper”.1 Bjerregaard built his national drama on eighteenth-century models, particularly Holberg’s comedies and Ewald’s Fiskerne, with a keen sense of both the nuances of social status and the cultural divide between country and city dwellers. �e play serves as a primer that instructs urban viewers and readers, who were otherwise culturally oriented toward Copenhagen, in what aspects of the rural landscape and culture they should embrace as symbols for their emerging Norwegian identity. -
Northern Lights: Even Hammer and the Norwegian Enlightenment
Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert Working Paper 17-054 Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert Harvard Business School Working Paper 17-054 Copyright © 2016 by Sophus A. Reinert Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert1 Harvard Business School On 27 May 1776, the Scottish immigrant John Robertson Brand, sometimes known as John Brandt, was awarded a silver medal by the Royal Norwegian Scientific Society in the church of the fishing village of Hustad, south of the Trondheim Fjord in central Norway. Though below the Arctic Circle, Hustad lays slightly off the 63rd parallel north, which otherwise runs through Canada’s Nunavut and Yukon Territories, the Davis Strait, and the deep Russian tundra, far, far north of the traditional latitudes of Enlightenment. And yet, stepping into the small wooden church’s aisle on that spring day to deliver a speech marking the occasion, District Governor Even Hammer of Romsdal (1732-1800) summoned a language of reform, improvement, industriousness, civic virtue, public happiness, jealousy of trade, and political economy, that would have resonated deeply and widely across the European world, a language indebted to wider international currents but resolutely inflected by local conditions in what he appropriately called ‘our cold North’.2 Few cases better justify the great Turinese historian Franco Venturi’s admonition, a few 1 Rolv Petter Amdam first introduced me to Even Hammer, and I would like to express my gratitude to him, to Mads Langnes at Romsdalsmuseet in Molde for going well beyond the call of duty in facilitating my work on this intriguing figure, and, particularly, to Marit Sjelmo for jovial research assistance and Robert Fredona for invaluable suggestions.