Chapter 5 – the Enlightenment and the American Revolution I. Philosophy in the Age of Reason (5-1) A
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The Enlightenment and Democratic Revolutions MAIN IDEA WHY IT MATTERS NOW TERMS & NAMES
4 The Enlightenment and Democratic Revolutions MAIN IDEA WHY IT MATTERS NOW TERMS & NAMES REVOLUTION Enlightenment These revolutions and the • Enlightenment • representative ideas helped bring about the documents they produced have • social contract government American and French inspired other democratic • natural rights • federal system revolutions. movements. • separation of • United Nations powers SETTING THE STAGE The Renaissance continued to affect European thinking throughout the 17th century. The Renaissance emphasis on the individual and on expanding human potential were especially influential. At the same time, Europeans began to explore their physical world. They extended the boundaries of the known world in what came to be called the Age of Exploration. New ideas and discoveries had a great impact on Europeans’ understanding of themselves and the world. TAKING NOTES Enlightenment Thinkers and Ideas Outlining Use an outline During the 17th and 18th centuries, an intellectual movement called the to organize the main ideas and details. Enlightenment developed. Enlightenment thinkers tried to apply the principles of reason and the methods of science to all aspects of society. They built upon I. Enlightenmentg the long history of Western thought. Thinkers and Ideas The philosophers of ancient Greece had established the idea of natural laws A. that could be discovered by careful observation and reasoned inquiry. B. Christianity contributed the belief in the equality of all human beings. (This belief II. The Beggginnings of Democracy in America would later lead to the principle of equal rights in society.) During the Renaissance, thinkers had focused on worldly concerns. They criticized medieval philosophy A. for concentrating on questions that seemed unrelated to human conditions. -
Schubert's!Voice!In!The!Symphonies!
! ! ! ! A!Search!for!Schubert’s!Voice!in!the!Symphonies! ! ! ! ! ! ! ! ! ! ! ! Camille!Anne!Ramos9Klee! ! Submitted!to!the!Department!of!Music!of!Amherst!College!in!partial!fulfillment! of!the!requirements!for!the!degree!of!Bachelor!of!Arts!with!honors! ! Faculty!Advisor:!Klara!Moricz! April!16,!2012! ! ! ! ! ! In!Memory!of!Walter!“Doc”!Daniel!Marino!(191291999),! for!sharing!your!love!of!music!with!me!in!my!early!years!and!always!treating!me!like! one!of!your!own!grandchildren! ! ! ! ! ! ! Table!of!Contents! ! ! Introduction! Schubert,!Beethoven,!and!the!World!of!the!Sonata!! 2! ! ! ! Chapter!One! Student!Works! 10! ! ! ! Chapter!Two! The!Transitional!Symphonies! 37! ! ! ! Chapter!Three! Mature!Works! 63! ! ! ! Bibliography! 87! ! ! Acknowledgements! ! ! First!and!foremost!I!would!like!to!eXpress!my!immense!gratitude!to!my!advisor,! Klara!Moricz.!This!thesis!would!not!have!been!possible!without!your!patience!and! careful!guidance.!Your!support!has!allowed!me!to!become!a!better!writer,!and!I!am! forever!grateful.! To!the!professors!and!instructors!I!have!studied!with!during!my!years!at! Amherst:!Alison!Hale,!Graham!Hunt,!Jenny!Kallick,!Karen!Rosenak,!David!Schneider,! Mark!Swanson,!and!Eric!Wubbels.!The!lessons!I!have!learned!from!all!of!you!have! helped!shape!this!thesis.!Thank!you!for!giving!me!a!thorough!music!education!in!my! four!years!here!at!Amherst.! To!the!rest!of!the!Music!Department:!Thank!you!for!creating!a!warm,!open! environment!in!which!I!have!grown!as!both!a!student!and!musician.!! To!the!staff!of!the!Music!Library!at!the!University!of!Minnesota:!Thank!you!for! -
Yorktown Victory Center Replacement Will Be Named 'American Revolution Museum at Yorktown'
DISPATCH A Newsletter of the Jamestown-Yorktown Foundation • Spring 2012 Yorktown Victory Center Replacement Will Be Named ‘American Revolution Museum at Yorktown’ Along with a physical transforma- bonds, is estimated at $46 tion of the Yorktown Victory Center will million. Private donations come a new name – “American Revolu- to the Jamestown-Yorktown tion Museum at Yorktown” – adopted Foundation, Inc., will sup- May 10 by the Jamestown-Yorktown port elements of gallery Foundation Board of Trustees and and outdoor exhibits and endorsed by the Jamestown-Yorktown educational resources. Foundation, Inc., Board of Directors. “The new name high- Recommended by a board naming lights the core offering of study task force, the new name will the museum, American be implemented upon completion of Revolution history,” said the museum replacement, and in the Frank B. Atkinson, who meantime the Yorktown Victory Center chaired the naming study will continue in operation as a museum task force comprised of 11 The distinctive two-story main entrance of the American of the American Revolution. members of the Jamestown- Revolution Museum at Yorktown will serve as a focal point Construction is expected to start Yorktown Foundation for arriving visitors. in the second half of 2012 on the proj- and Jamestown-Yorktown name were identified, and research ect, which includes an 80,000-square- Foundation, Inc., boards, “and the in- was undertaken on names currently in foot structure that will encompass ex- clusion of the word ‘Yorktown’ provides use. Selected names were tested with panded exhibition galleries, classrooms a geographical anchor. We arrived Yorktown Victory Center visitors and and support functions, and reorganiza- at this choice through a methodical reviewed by a trademark attorney and tion of the 22-acre site. -
Martin Van Buren: the Greatest American President
SUBSCRIBE NOW AND RECEIVE CRISIS AND LEVIATHAN* FREE! “The Independent Review does not accept “The Independent Review is pronouncements of government officials nor the excellent.” conventional wisdom at face value.” —GARY BECKER, Noble Laureate —JOHN R. MACARTHUR, Publisher, Harper’s in Economic Sciences Subscribe to The Independent Review and receive a free book of your choice* such as the 25th Anniversary Edition of Crisis and Leviathan: Critical Episodes in the Growth of American Government, by Founding Editor Robert Higgs. This quarterly journal, guided by co-editors Christopher J. Coyne, and Michael C. Munger, and Robert M. Whaples offers leading-edge insights on today’s most critical issues in economics, healthcare, education, law, history, political science, philosophy, and sociology. Thought-provoking and educational, The Independent Review is blazing the way toward informed debate! Student? Educator? Journalist? Business or civic leader? Engaged citizen? This journal is for YOU! *Order today for more FREE book options Perfect for students or anyone on the go! The Independent Review is available on mobile devices or tablets: iOS devices, Amazon Kindle Fire, or Android through Magzter. INDEPENDENT INSTITUTE, 100 SWAN WAY, OAKLAND, CA 94621 • 800-927-8733 • [email protected] PROMO CODE IRA1703 Martin Van Buren The Greatest American President —————— ✦ —————— JEFFREY ROGERS HUMMEL resident Martin Van Buren does not usually receive high marks from histori- ans. Born of humble Dutch ancestry in December 1782 in the small, upstate PNew York village of Kinderhook, Van Buren gained admittance to the bar in 1803 without benefit of higher education. Building on a successful country legal practice, he became one of the Empire State’s most influential and prominent politi- cians while the state was surging ahead as the country’s wealthiest and most populous. -
American Separation of Powers: How the Architects of the U.S
Critique: a worldwide student journal of politics American Separation of Powers: How the Architects of the U.S. Constitution Strategically Developed Montesquieu’s Constitutionalism Christopher Putney University of Texas at Austin Abstract: Anti-Federalist opponents of the Constitution offered numerous, and at times, even contradictory criticisms of the draft as it emerged from Philadelphia in 1787. In spite of the apparent heterogeneity of these constitutional criticisms, there are those writers, that because of the seriousness of their arguments, warranted a direct response by probably the most influential work on the U.S. Constitution then or since: The Federalist. I argue that what James Madison heralds as Montesquieu’s “sacred maxim of free government,” and as an “invaluable precept in the science of politics,” is ultimately redefined in the Madisonian defense of the Constitution. Though Madison begins with an invocation of Montesquieu’s theory of how government power ought to be organized in a “free government,” his treatment of the separation of powers principle turns out to supply a significantly modified version of Montesquieu’s constitutional teaching. I demonstrate that Madison’s rendering of Montesquieu in defense of the proposed Constitution not only appropriates Montesquieu’s terminology, but strategically develops a revised conception of separation of powers. Introduction It may be fair to contend, as many Federalists did in the 1780’s, that Anti-Federalist writers “shared no common principles, that their arguments canceled each other out,” and, that “[Anti-Federalists] did not, finally, even agree unanimously in opposing the adoption of the Fall 2016 Constitution” (Storing and Dry 2006). However, one of the most persistent of the Anti-Federalist critiques (offered in more or less the same form) by various writers, was taken up by James Madison in The Federalist, and replied to forcefully in essays 47, 48 and 51 (Hamilton, Madison, and Jay 2003). -
Mount Rushmore
MOUNT RUSHMORE National Memorial SOUTH DAKOTA of Mount Rushmore. This robust man with The model was first measured by fastening a his great variety of interests and talents left horizontal bar on the top and center of the head. As this extended out over the face a plumb bob MOUNT RUSHMORE his mark on his country. His career encom was dropped to the point of the nose, or other passed roles of political reformer, trust buster, projections of the face. Since the model of Wash rancher, soldier, writer, historian, explorer, ington's face was five feet tall, these measurements hunter, conservationist, and vigorous execu were then multiplied by twelve and transferred to NATIONAL MEMORIAL the mountain by using a similar but larger device. tive of his country. He was equally at home Instead of a small beam, a thirty-foot swinging on the western range, in an eastern drawing Four giants of American history are memorialized here in lasting granite, their likenesses boom was used, connected to the stone which would room, or at the Court of St. James. He typi ultimately be the top of Washington's head and carved in proportions symbolical of greatness. fied the virile American of the last quarter extending over the granite cliff. A plumb bob of the 19th and the beginning of the 20th was lowered from the boom. The problem was to adjust the measurements from the scale of the centuries. More than most Presidents, he and he presided over the Constitutional Con model to the mountain. The first step was to locate On the granite face of 6,000-foot high knew the West. -
Ludwig Van Beethoven Franz Schubert Wolfgang
STIFTUNG MOZARTEUM SALZBURG WEEK LUDWIG VAN BEETHOVEN PIANO CONCERTO NO. 1 FRANZ SCHUBERT SYMPHONY NO. 5 WOLFGANG AMADEUS MOZART PIANO CONCERTO NO. 23 ANDRÁS SCHIFF CAPPELLA ANDREA BARCA WEEK LUDWIG VAN BEETHOVEN Vienna - once the music hub of Europe - attracted all the Piano Concerto No. 1 in C major, Op. 15 greatest composers of its day, among them Beethoven, Schubert and Mozart. This concert given by András Schiff and FRANZ SCHUBERT the Capella Andrea Barca during the Salzburg Mozart Week Symphony No. 5 in B flat major, D 485 brings together three works by these great composers, which WOLFGANG AMADEUS MOZART each of them created early in life at the start of an impressive Piano Concerto No. 23 in E flat major, KV 482 Viennese career. The programme opens with Beethoven’s First Piano Concerto: Piano & Conductor András Schiff “Sensitively supported by the rich and supple tone of the strings, Orchestra Cappella Andrea Barca Schiff’s pianistic virtuosity explores the length and breadth of Beethoven’s early work, from the opulent to the playful, with a Produced by idagio.production palpable delight rarely found in such measure in a pianist”, was Video Director Oliver Becker the admiring verdict of the Salzburg press. Length: approx. 100' As in his opening piece, Schiff again succeeded in Schubert’s Shot in HDTV 1080/50i symphony “from the first note to the last in creating a sound Cat. no. A 045 50045 0000 world that flooded the mind’s eye with images” Drehpunkt( Kultur). A co-production of The climax of the concert was the Mozart piano concerto. -
Chapter 6: Federalists and Republicans, 1789-1816
Federalists and Republicans 1789–1816 Why It Matters In the first government under the Constitution, important new institutions included the cabinet, a system of federal courts, and a national bank. Political parties gradually developed from the different views of citizens in the Northeast, West, and South. The new government faced special challenges in foreign affairs, including the War of 1812 with Great Britain. The Impact Today During this period, fundamental policies of American government came into being. • Politicians set important precedents for the national government and for relations between the federal and state governments. For example, the idea of a presidential cabinet originated with George Washington and has been followed by every president since that time • President Washington’s caution against foreign involvement powerfully influenced American foreign policy. The American Vision Video The Chapter 6 video, “The Battle of New Orleans,” focuses on this important event of the War of 1812. 1804 • Lewis and Clark begin to explore and map 1798 Louisiana Territory 1789 • Alien and Sedition • Washington Acts introduced 1803 elected • Louisiana Purchase doubles president ▲ 1794 size of the nation Washington • Jay’s Treaty signed J. Adams Jefferson 1789–1797 ▲ 1797–1801 ▲ 1801–1809 ▲ ▲ 1790 1797 1804 ▼ ▼ ▼ ▼ 1793 1794 1805 • Louis XVI guillotined • Polish rebellion • British navy wins during French suppressed by Battle of Trafalgar Revolution Russians 1800 • Beethoven’s Symphony no. 1 written 208 Painter and President by J.L.G. Ferris 1812 • United States declares 1807 1811 war on Britain • Embargo Act blocks • Battle of Tippecanoe American trade with fought against Tecumseh 1814 Britain and France and his confederacy • Hartford Convention meets HISTORY Madison • Treaty of Ghent signed ▲ 1809–1817 ▲ ▲ ▲ Chapter Overview Visit the American Vision 1811 1818 Web site at tav.glencoe.com and click on Chapter ▼ ▼ ▼ Overviews—Chapter 6 to 1808 preview chapter information. -
Industrialism, Androids, and the Virtuoso Instrumentalist
UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice. -
The Causes of the American Revolution
Page 50 Chapter 12 By What Right Thomas Hobbes John Locke n their struggle for freedom, the colonists raised some age-old questions: By what right does government rule? When may men break the law? I "Obedience to government," a Tory minister told his congregation, "is every man's duty." But the Reverend Jonathan Boucher was forced to preach his sermon with loaded pistols lying across his pulpit, and he fled to England in September 1775. Thomas Jefferson wrote in the Declaration of Independence that when people are governed "under absolute Despotism, it is their right, it is their duty, to throw off such a Government." Both Boucher and Jefferson spoke to the question of whether citizens owe obedience to government. In an age when kings held near absolute power, people were told that their kings ruled by divine right. Disobedience to the king was therefore disobedience to God. During the seventeenth century, however, the English beheaded one King (King Charles I in 1649) and drove another (King James II in 1688) out of England. Philosophers quickly developed theories of government other than the divine right of kings to justify these actions. In order to understand the sources of society's authority, philosophers tried to imagine what people were like before they were restrained by government, rules, or law. This theoretical condition was called the state of nature. In his portrait of the natural state, Jonathan Boucher adopted the opinions of a well- known English philosopher, Thomas Hobbes. Hobbes believed that humankind was basically evil and that the state of nature was therefore one of perpetual war and conflict. -
Michael Jackson's Gesamtkunstwerk
Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012). -
Peace of Paris (1783) 1 Peace of Paris (1783)
Peace of Paris (1783) 1 Peace of Paris (1783) The Peace of Paris (1783) was the set of treaties which ended the American Revolutionary War. On 3 September 1783, representatives of King George III of Great Britain signed a treaty in Paris with representatives of the United States of America—commonly known as the Treaty of Paris (1783)—and two treaties at Versailles with representatives of King Louis XVI of France and King Charles III of Spain—commonly known as the Treaties of Versailles (1783). The previous day, a preliminary treaty had been signed with representatives of the States General of the Dutch Republic, but the final treaty which ended the Fourth Anglo-Dutch War was not signed until 20 May 1784; for convenience, however, it is included in the summaries below. The British lost their Thirteen Colonies and the defeat marked the end of the First British Empire. The United States gained more than it expected, thanks to the award of western territory.[1] The other Allies had mixed-to-poor results. France won a propaganda victory over Britain after its defeat in the Seven Years War, however its material gains were minimal and its financial losses huge. It was already in financial trouble and its borrowing to pay for the war used up all its credit and created the financial disasters that marked the 1780s. Historians link those disasters to the coming of the French Revolution. The Dutch did not gain anything of significant value at the end of the war. The Spanish had a mixed result; they did not achieve their primary war goal of recovering Gibraltar, but they did gain some territory.