Federal Relief Programs in the 19Th Century: a Reassessment
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Definingromanticnationalism-Libre(1)
UvA-DARE (Digital Academic Repository) Notes towards a definition of Romantic Nationalism Leerssen, J. Publication date 2013 Document Version Final published version Published in Romantik Link to publication Citation for published version (APA): Leerssen, J. (2013). Notes towards a definition of Romantic Nationalism. Romantik, 2(1), 9- 35. http://ojs.statsbiblioteket.dk/index.php/rom/article/view/20191/17807 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 NOTES TOWARDS A DEFINITION Romantic OF ROMANTIC Nationalism NATIONALISM [ JOEP LEERSSEN ABSTR While the concept ‘Romantic nationalism’ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and na- tionalism. In order to come to a more focused understanding of the concept, this article A surveys a wide sample of Romantically inflected nationalist activities and practices, and CT nationalistically inflected cultural productions and reflections of Romantic vintage, drawn ] from various media (literature, music, the arts, critical and historical writing) and from dif- ferent countries. -
Georgetown's Historic Houses
VITUAL FIELD TRIPS – GEORGETOWN’S HISTORIC HOUSES Log Cabin This log cabin looks rather small and primitive to us today. But at the time it was built, it was really quite an advance for the gold‐seekers living in the area. The very first prospectors who arrived in the Georgetown region lived in tents. Then they built lean‐tos. Because of the Rocky Mountain's often harsh winters, the miners soon began to build cabins such as this one to protect themselves from the weather. Log cabin in Georgetown Photo: N/A More About This Topic Log cabins were a real advance for the miners. Still, few have survived into the 20th century. This cabin, which is on the banks of Clear Creek, is an exception. This cabin actually has several refinements. These include a second‐story, glass windows, and interior trim. Perhaps these things were the reasons this cabin has survived. It is not known exactly when the cabin was built. But clues suggest it was built before 1870. Historic Georgetown is now restoring the cabin. The Tucker‐Rutherford House James and Albert Tucker were brothers. They ran a grocery and mercantile business in Georgetown. It appears that they built this house in the 1870s or 1880s. Rather than living the house themselves, they rented it to miners and mill workers. Such workers usually moved more often than more well‐to‐do people. They also often rented the places where they lived. When this house was built, it had only two rooms. Another room was added in the 1890s. -
Eugène Delacroix the Artist Eugène Delacroix Born in Saint-Maurice-En-Chalencon, France 1798; Died in Paris, France 1863
Eugène Delacroix Horse Frightened by Lightning , 1824–1829 watercolor, white heightening, gum Arabic watercolor on paper, 94 x 126 in. Museum of Fine Arts, Budapest, Hungary Self-Portrait, c.1837 oil on canvas The Louvre, Paris The Artist Eugène Delacroix Born in Saint-Maurice-en-Chalencon, France 1798; died in Paris, France 1863 Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic School. Born in France in 1798, Delacroix was orphaned at the age of 16. In 1816 he began his formal art training, learning the neoclassical style of Jacques- Louis David. Delacroix’s first major painting, The Barque of Dante, was accepted into the Paris Salon in 1822, earning him national fame. He turned away from the neoclassical style, and became one of the best-known Romantic painters, favoring imaginative scenes from literature and historical events. Highly acclaimed works include Death of Sardanapalus and Liberty Leading the People , a painting inspired by France’s uprising against King Charles X in 1830. In 1832, Delacroix spent 6 months in North Africa, and created many paintings inspired by Arabic culture and the sun-drenched landscape. Delacroix continued to be very popular in his lifetime, exhibiting many works in the Paris salon, and receiving commissions to decorate important Parisian buildings. Delacroix died on August 13, 1863. Art Movement Romanticism The Romantic Movement was inspired in part by the ideas of Rousseau, who declared that “Man is born free, but is everywhere in chains!” Romanticism emerged from the desire for freedom – political freedom, freedom of thought, of feeling, of action, of worship, of speech, and of taste. -
Visuality and the Theatre in the Long Nineteenth Century #19Ctheatrevisuality
Visuality and the Theatre in the Long Nineteenth Century #19ctheatrevisuality Henry Emden, City of Coral scene, Drury Lane, pantomime set model, 1903 © V&A Conference at the University of Warwick 27—29 June 2019 Organised as part of the AHRC project, Theatre and Visual Culture in the Long Nineteenth Century, Jim Davis, Kate Holmes, Kate Newey, Patricia Smyth Theatre and Visual Culture in the Long Nineteenth Century Funded by the AHRC, this collaborative research project examines theatre spectacle and spectatorship in the nineteenth century by considering it in relation to the emergence of a wider trans-medial popular visual culture in this period. Responding to audience demand, theatres used sophisticated, innovative technologies to create a range of spectacular effects, from convincing evocations of real places to visions of the fantastical and the supernatural. The project looks at theatrical spectacle in relation to a more general explosion of imagery in this period, which included not only ‘high’ art such as painting, but also new forms such as the illustrated press and optical entertainments like panoramas, dioramas, and magic lantern shows. The range and popularity of these new forms attests to the centrality of visuality in this period. Indeed, scholars have argued that the nineteenth century witnessed a widespread transformation of conceptions of vision and subjectivity. The project draws on these debates to consider how far a popular, commercial form like spectacular theatre can be seen as a site of experimentation and as a crucible for an emergent mode of modern spectatorship. This project brings together Jim Davis and Patricia Smyth from the University of Warwick and Kate Newey and Kate Holmes from the University of Exeter. -
Billy the Kid and the Lincoln County War 1878
Other Forms of Conflict in the West – Billy the Kid and the Lincoln County War 1878 Lesson Objectives: Starter Questions: • To understand how the expansion of 1) We have many examples of how the the West caused other forms of expansion into the West caused conflict with tension between settlers, not just Plains Indians – can you list three examples conflict between white Americans and of conflict and what the cause was in each Plains Indians. case? • To explain the significance of the 2) Can you think of any other groups that may Lincoln County War in understanding have got into conflict with each other as other types of conflict. people expanded west and any reasons why? • To assess the significance of Billy the 3) Why was law and order such a problem in Kid and what his story tells us about new communities being established in the law and order. West? Why was it so hard to stop violence and crime? As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. This was a time of robberies, range wars and Indian wars in the wide open spaces of the West. Gradually, the forces of law and order caught up with the lawbreakers, while the US army defeated the Plains Indians. As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. -
On Teaching the History of Nineteenth-Century Music
On Teaching the History of Nineteenth-Century Music Walter Frisch This essay is adapted from the author’s “Reflections on Teaching Nineteenth- Century Music,” in The Norton Guide to Teaching Music History, ed. C. Matthew Balensuela (New York: W. W Norton, 2019). The late author Ursula K. Le Guin once told an interviewer, “Don’t shove me into your pigeonhole, where I don’t fit, because I’m all over. My tentacles are coming out of the pigeonhole in all directions” (Wray 2018). If it could speak, nineteenth-century music might say the same ornery thing. We should listen—and resist forcing its composers, institutions, or works into rigid categories. At the same time, we have a responsibility to bring some order to what might seem an unmanageable segment of music history. For many instructors and students, all bets are off when it comes to the nineteenth century. There is no longer a clear consistency of musical “style.” Traditional generic boundaries get blurred, or sometimes erased. Berlioz calls his Roméo et Juliette a “dramatic symphony”; Chopin writes a Polonaise-Fantaisie. Smaller forms that had been marginal in earlier periods are elevated to unprecedented levels of sophistication by Schubert (lieder), Schumann (character pieces), and Liszt (etudes). Heightened national identity in many regions of the European continent resulted in musical characteristics which become more identifiable than any pan- geographic style in works by composers like Musorgsky or Smetana. At the college level, music of the nineteenth century is taught as part of music history surveys, music appreciation courses, or (more rarely these days) as a stand-alone course. -
Transcendentalism: a Critique of Today's World Through the Eyes Of
Transcendentalism: A Critique of Today’s World Through the Eyes of a Nineteenth Century Transcendentalist Throughout history, human thought has shaped the processes and actions that make up the world we live in today. It has been at the root of every war as well as every treaty and negotiation. Human thought has fueled hatred and acceptance, wrath and peace, and it has endured through history despite each attempt to repress it. There have been intellectual movements throughout history in which human thought has influenced society’s culture and how it approaches its members and problems. Two such time periods were the Enlightenment and the Second Great Awakening, the latter of which being when Transcendentalism first came to the forefront of human thought. Transcendentalism was a spiritual and philosophical movement that developed in the 1820s and 1830s with roots in Kantian philosophy and German Romanticism.1 This philosophy argued for individualism and each person’s ability to make sense of the Universe through their own Spirit and Reason. In today’s world, Transcendentalist thought is often overlooked and is rarely taught or practiced. Regardless, modern society reflects the one in which Transcendentalists lived in the sense that they have both been marked by technological revolutions and the current societal issues are products of those that Transcendentalists once fought against. It is for this reason that we must look at what Transcendentalism is and how Transcendentalists responded to their society and its problems so that we may begin to do the same within our own society. To do this, it is necessary to look at Ralph Waldo Emerson’s 1 History.com Editors, “Transcendentalism,” HISTORY, August 21, 2018, www.history.com/topics/19th-century/transcendentalism. -
Professionalism and the Market in 19Th-Century Europe
University of Kentucky UKnowledge Art & Visual Studies Presentations Art & Visual Studies 5-21-2015 Professionalism and the Market in 19th-Century Europe Robert Jensen University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/art_present Part of the Art and Design Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Repository Citation Jensen, Robert, "Professionalism and the Market in 19th-Century Europe" (2015). Art & Visual Studies Presentations. 2. https://uknowledge.uky.edu/art_present/2 This Presentation is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Art & Visual Studies Presentations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Professionalism and the Market in 19th-Century Europe Dr. Robert Jensen Director School of Art and Visual Studies 207 Fine Arts Bldg. University of Kentucky Lexington, KY, 40506 U.S.A. [email protected] Introduction As I was preparing my talk for this conference I happened to read an essay by a former colleague, Susan Waller, about a group of late self- portraits by the great academician Jean-Léon Gérôme. In her paper, Waller attempted to account for Gérôme’s significant preoccupation with self-portraiture in the late 1880s and early 1890s. She described these images as expressions of the -
The Political History of Nineteenth Century Portugal1
The Political History of Nineteenth Century Portugal1 Paulo Jorge Fernandes Autónoma University of Lisbon [email protected] Filipe Ribeiro de Meneses National University of Ireland [email protected] Manuel Baiôa CIDEHUS-University of Évora [email protected] Abstract The political history of nineteenth-century Portugal was, for a long time, a neglected subject. Under Salazar's New State it was passed over in favour of earlier periods from which that nationalist regime sought to draw inspiration; subsequent historians preferred to concentrate on social and economic developments to the detriment of the difficult evolution of Portuguese liberalism. This picture is changing, thanks to an awakening of interest in both contemporary topics and political history (although there is no consensus when it comes to defining political history). The aim of this article is to summarise these recent developments in Portuguese historiography for the benefit of an English-language audience. Keywords Nineteenth Century, History, Bibliography, Constitutionalism, Historiography, Liberalism, Political History, Portugal Politics has finally begun to carve out a privileged space at the heart of Portuguese historiography. This ‘invasion’ is a recent phenomenon and can be explained by the gradual acceptance, over the course of two decades, of political history as a genuine specialisation in Portuguese academic circles. This process of scientific and pedagogical renewal has seen a clear focus also on the nineteenth century. Young researchers concentrate their efforts in this field, and publishers are more interested in this kind of works than before. In Portugal, the interest in the 19th century is a reaction against decades of ignorance. Until April 1974, ideological reasons dictated the absence of contemporary history from the secondary school classroom, and even from the university curriculum. -
Stendhal's Syndrome
Stories Stendhal’s Syndrome Before the 19th century, there were that turned into a horrendous saga of Hans Holbein in Basle (and made his travellers. There were even rich Englishmen frostbite and starvation. He visited London pregnant wife fear he was going to have one doing the Grand Tour. But then, somewhere three times, and even contributed articles to of his epileptic fits). 1 The German poet Rainer around the time of the French Revolution (or English-language journals on the cultural life Maria Rilke wrote in his first Duino Elegy : perhaps a little before it) feelings were let of Paris. Stendhal liked to pepper his French ‘beauty is nothing but the beginning of terror, loose on the world. Back in 1761, readers with anglicisms, and was one of the first which we are still just able to endure, and we had swooned when they encountered the writers to popularise the use of the word are so awed because it serenely disdains to ‘true voice of feeling’ in Jean-Jacques ‘tourist’ in French. annihilate us.’ Philosophers were getting in Rousseau’s novel La Nouvelle Héloïse ; by It was on one of his visits to Italy in 1817 on the act too. Immanuel Kant, in his Critique the end of the decade, all of Europe was that Stendhal described an experience that of Judgement , hypothesised that the being sentimental in the manner made brought the literary swoon into tourism. contemplation of aesthetically stimulating fashionable a few years later by Laurence Visiting the Basilica of Santa Croce, he found objects induces ‘a rapidly alternating Sterne in his A Sentimental Journey . -
1790S 1810S 1820S 1830S 1860S 1870S 1880S 1950S 2000S
Robert Fulton (1765-1815) proposes plans for steam-powered vessels to the 1790s U.S. Government. The first commercial steamboat completes its inaugural journey in 1807 in New York state. Henry Shreve (1785-1851) creates two new types of steamboats: the side-wheeler and the 1810s stern-wheeler. These boats are well suited for the shallow, fast-moving rivers in Arkansas. The first steamboat to arrive in Arkansas, March 31, 1820 Comet, docks at the Arkansas Post. Steamboats traveled the Arkansas, Black, Mississippi, Ouachita, and White Rivers, carrying passengers, raw 1820s materials, consumer goods, and mail to formerly difficult-to-reach communities. Steamboats, or steamers, were used during From the earliest days of the 19th Indian Removal in the1830s for both the shipment 1830s of supplies and passage of emigrants along the century, steamboats played a vital role Arkansas, White, and Ouachita waterways. in the history of Arkansas. Prior to the advent of steamboats, Arkansans were at the mercy of poor roads, high carriage Quatie, wife of Cherokee Chief John Ross, dies aboard Victoria on its way to Indian costs, slow journeys, and isolation. February 1, 1839 Territory and is buried in Little Rock Water routes were the preferred means of travel due to faster travel times and During the Civil War, Arkansas’s rivers offered the only reliable avenue upon which either Confederate or Union fewer hardships. While water travel was 1860s forces could move. Union forces early established control preferable to overland travel, it did not over the rivers in Arkansas. In addition to transporting supplies, some steamers were fitted with armor and come without dangers. -
The Kinney Gang in 1873, 25-Year Old John Kinney Mustered out of the U.S
This is a short biography of outlaw John Kinney, submitted to SCHS by descendant Troy Kelly of Johnson City, NY. John W. Kinney was born in Hampshire, Massachusetts in 1847 (other sources say 1848 or 1853). He and his family moved to Iowas shortly after John was born. On April 13, 1867, Kinney enlisted in the U.S. Army at Chicago, Illinois. On April 13, 1873, at the rank of sergeant, Kinney was mustered out of the U.S. Army at Fort McPherson, Nebraska. Kinney chose not to stay around Nebraska, and he went south to New Mexico Territory. Kinney took up residence in Dona Ana County. He soon became a rustler and the leader of a gang of about thirty rustlers, killers, and thieves. By 1875, the John Kinney Gang was the most feared band of rustler in the territory. They rustled cattle, horses, and mules throughout New Mexico, Arizona, Texas, and Mexico. However, the headquarters for the gang was around the towns of La Mesilla and Las Cruces, both of them located in Dona Ana County. Kinney himself was a very dangerous gunslinger. His apprentice in the gang was Jessie Evants. On New Year's Even in 1875, Kinney, Jessie Evans, and two other John Kinney Gang members name Jim McDaniels and Pony Diehl, got into a bar-room brawl in Las Cruces with some soldiers from nearby Fort Seldon [sic]. The soldiers beat the four rusterls in the fight, and the outlaws were tossed out of the establishment. Kinney himself was severely injured during the fight. Later that night, Kinney, Evans, McDaniels, and Diehl took to the street of Las Cruces and went in front of the saloon they had recently been tossed out of.