Housing Landlordism in Late Nineteenth-Century Britain

1982 ◽  
Vol 14 (11) ◽  
pp. 1437-1447 ◽  
Author(s):  
P Kemp
Keyword(s):  
Nineteenth Century ◽  
Housing Market ◽  
Late Nineteenth Century ◽  
Form And Function ◽  
Private Renting ◽  
Late Nineteenth ◽  
And Function ◽  
The Way

The paper examines the form and function of housing landlordism in late nineteenth-century Britain. The first three sections discuss why private renting from housing landlords was the dominant tenure, and how this form of housing realisation was of advantage to tenants, builders, and investors. The paper then discusses the nature of loan capital in house property and the characteristics of housing to let as an investment. Particular emphasis is placed upon the way in which the form taken by the late nineteenth-century housing market was itself structured by the nature of the wider economy, of which it formed a part.

THE NATURE AND FUNCTION OF COST KEEPING IN A LATE NINETEENTH-CENTURY SMALL BUSINESS

1988 ◽  
Vol 15 (1) ◽  
pp. 29-40 ◽  
Author(s):  
Thomas Tyson
Keyword(s):  
Nineteenth Century ◽  
Small Business ◽  
Late Nineteenth Century ◽  
Boat Building ◽  
Late Nineteenth ◽  
Economic Depression ◽  
And Function

J. Henry Rushton was the preeminent American builder of canoes and small pleasure boats in the late nineteenth-century. Beginning in the mid 1890s, Rushton personally maintained books of cost records and cost finding rules for his boat-building operations. In conjunction with the company's product catalogs and Rushton's personal letters, these books reveal the nature and function of cost keeping for this enterprise. They also suggest that pressures from increased competition and an economic depression may have stimulated Rushton to undertake detailed costing procedures.

scholarly journals Identity considerations for a psychology based on a complex epistemology

2009 ◽  
Vol 2 (2) ◽  
pp. 158-166 ◽  
Author(s):  
Juan Carlos Jaramillo Estrada
Keyword(s):  
Quality Of Life ◽  
Nineteenth Century ◽  
Active Part ◽  
Late Nineteenth Century ◽  
Human Beings ◽  
The Poor ◽  
The World ◽  
Late Nineteenth ◽  
The Way

Born in the late nineteenth century, within the positivist paradigm, psychology has made important developments that have allowed its recognition in academia and labor. However, contextual issues have transformed the way we conceptualize reality, the world and man, perhaps in response to the poor capacity of the inherited paradigm to ensure quality of life and welfare of human beings. This has led to the birth and recognition of new paradigms, including complex epistemology, in various fields of the sphere of knowledge, which include the subjectivity, uncertainty, relativity of knowledge, conflict, the inclusion of "the observed" as an active part of the interventions and the relativity of a single knowable reality to move to co-constructed realities. It is proposed an approach to the identity consequences for a psychology based on complex epistemology, and the possible differences and relations with psychology, traditionally considered.

Scottish Gothic Drama

2017 ◽  
pp. 59-74
Author(s):  
Barbara A. E. Bell
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Good Deal ◽  
Late Nineteenth Century ◽  
Visual Effects ◽  
Gothic Revival ◽  
Performance Culture ◽  
Late Nineteenth ◽  
Music Hall ◽  
The Way

Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

Introduction

2020 ◽  
pp. 1-44
Author(s):  
Gavin Miller
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Science Fiction ◽  
Late Nineteenth Century ◽  
Late Twentieth ◽  
Late Nineteenth ◽  
Psychological Knowledge ◽  
Reflexive Function ◽  
And Function ◽  
Late Twentieth Century

For the purposes of this book, science fiction is defined broadly in the terms advanced by Darko Suvin, with a focus on the genre from the late nineteenth century onwards. Psychology is conceived as the modern Western discipline, running from the origins of experimental psychology in the late nineteenth century to the ascendance of neuroscience as a disciplinary rival in the late twentieth century. Five different functions for psychological discourses in science fiction are proposed. The didactic-futurological function educates the non-specialist through extrapolation of psychological technologies, teaching within the context of futurological forecasting. The utopian function anchors in historical possibility the imagining of a currently non-existent society, whether utopian or dystopian. The cognitive-estranging function defamiliarizes and denaturalizes social reality by extrapolating current social tendencies and/or construct unsettling fictional analogues of the reader’s world. The metafictional function self-consciously thematizes within narrative fiction the psychological origins, nature, and function of science fiction as a genre. The reflexive function addresses the construction of individuals and groups who have reflexively adopted the ‘truth’ of psychological knowledge.

La bohème’s Paris

2020 ◽  
pp. 35-56
Author(s):  
Alexandra Wilson
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
French Culture ◽  
Late Nineteenth ◽  
La Boheme ◽  
The City ◽  
The Way

This chapter analyses the ways in which La bohème was influenced by popular romantic representations of Paris and the ways in which it, in turn, helped shape them. It discusses the late nineteenth-century Italian fascination with French culture and the way in which Puccini’s opera was nostalgically depicting an old Paris that had been swept away by Baron Haussmann’s regeneration of the city. The chapter considers Puccini’s conception of Bohemianism, demonstrating that it had Italian as well as French roots. It examines the composer and his librettists’ reading of certain archetypal Bohemian figures, such as the good-hearted demimondaine, and of symbolic Parisian locations, such as the pavement café. The chapter concludes with a consideration of Puccini’s representation of ‘picturesque poverty’ and discusses the ways in which directors have attempted to make the work more or less gritty through their stagings.

Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’

2017 ◽  
Vol 7 (2) ◽  
pp. 124-142
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Short Story ◽  
Spatial Context ◽  
Late Nineteenth Century ◽  
Henri Lefebvre ◽  
Revolutionary Politics ◽  
Late Nineteenth ◽  
The City ◽  
The Way

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

Frege and the Surprising History of Logic: Introduction to Claude Imbert, “Gottlob Frege, One More Time”

Hypatia ◽  
2000 ◽  
Vol 15 (4) ◽  
pp. 151-155
Author(s):  
Emily Grosholz
Keyword(s):  
Nineteenth Century ◽  
Gottlob Frege ◽  
Late Nineteenth Century ◽  
History Of Logic ◽  
History Of ◽  
Late Nineteenth ◽  
The Way

Convinced that logic has a history and that its history always manages to surprise the philosophers, Claude Imbert has devoted much of her work to the study of the Stoic school and of the late-nineteenth-century German logician Gottlob Frege. In the fifth chapter of her book Pour une histoire de la logique, she examines the trajectory of Frege's awareness of what his new logic entails, in particular the way it subverts the project of Kant.

Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century

2007 ◽  
Vol 31 (2) ◽  
pp. 131-163
Author(s):  
Lydia Hamessley
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
Negative Impact ◽  
Three Dimensional ◽  
Musical Instruments ◽  
Late Nineteenth Century ◽  
Bourgeois Society ◽  
The New Woman ◽  
Late Nineteenth ◽  
The Way

During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of depicting a genteel lady in the parlor playing her beribboned banjo, the stereoviews presented humorous and sometimes risque scenes of banjo-playing women. Further, virtually no stereoviews exist that show the banjo played by a lady in a parlor setting. Through a study of stereoscopic depictions of women in a variety of scenes, I place these unexpected images of women's music-making in a context that explains their significance. In particular I examine the way stereoviews provide insights about the tensions regarding the position and status of women in late-nineteenth- and early-twentieth-century American culture as revealed in the figure of the New Woman. Typical of constructions of this threatening figure, stereographic images picture the New Woman wearing bloomers, riding bicycles, attending college, smoking, neglecting her wifely duties and children, and even indulging in lesbian eroticism. Yet, stereoviews are distinctive in that they also show the New Woman playing the banjo, and I argue that the link between the banjo and the New Woman had a decisive and negative impact on the effectiveness of the banjo elevation project. Through an examination of these three-dimensional views, and drawing on late-nineteenth-century writing and poetry about the banjo, I show how the banjo in the hands of the New Woman became a cautionary cultural icon for middle- and upper-class women, subverting the respectable image of the parlor banjo and the bourgeois women who played it. I place this new evidence in the context of Karen Linn's paradigm describing the banjo elevation project as one that sought to shift the banjo from the realm of sentimental values to official values. The figure of the New Woman does not fit within Linn's dichotomy; rather, she falls outside both sets of values. Often viewed as a third sex herself, in a sense mirroring the gender tensions surrounding the banjo, the New Woman helped to shift the banjo into a third realm, that of revolutionary and perhaps even decadent values. This study enhances what we know about the way musical instruments have been used to reconfigure attitudes toward gender roles in the popular imagination and furthers our understanding of the complex role women have played in the history of the banjo. Moreover, this evidence demonstrates how gender and sexuality can affect the reception of music, and musical instruments, through powerful iconographic images.

Israel Zangwill, or ‘The Jewish Dickens’: Representing Minority Communities in Novel and Newspaper

2020 ◽  
pp. 124-166
Author(s):  
Jessica R. Valdez
Keyword(s):  
Nineteenth Century ◽  
Jewish Community ◽  
English Language ◽  
Late Nineteenth Century ◽  
Daniel Deronda ◽  
Form And Function ◽  
Israel Zangwill ◽  
Sense Of Time ◽  
A Minor ◽  
And Function

This chapter examines how the newspaper participates in novelistic depictions of late nineteenth-century Anglo-Jewishness, with a focus on Israel Zangwill’s 1892 novel, Children of the Ghetto: A Study of a Peculiar People (1892) and George Eliot’s Daniel Deronda (1876). The dominant nineteenth-century Jewish newspaper, The Jewish Chronicle, sought to accommodate its readers and to represent a unified Jewish community to the larger national public; however, Jewish print culture more broadly was politically, culturally, and linguistically diverse. Acknowledging the centrality of newspapers to the Jewish community Zangwill dramatises the limitations of newspaper form and function to the cultivation of a broader affective attachment. In Children of the Ghetto, Zangwill contrasts the representative potential of novelistic realism with the English-language Orthodox newspaper, The Flag of Judah, which only imperfectly fosters an Anglo-Jewish community. The newspaper’s regularity and routinised labor dull its editor’s sense of time and weakens his affective attachment to other members of his community. In contrast, novelistic realism enables Zangwill to convey the complex feelings that the Jewish ghetto elicits in the protagonist and novelist Esther Ansell. The newspaper looks like a form conducive to affective connections only when it is repurposed by readers and made to work more like a novel. This chapter also argues that Israel Zangwill reworks Eliot’s novelistic approaches to community in Children of the Ghetto. Whereas Daniel Deronda concludes with Deronda’s yearning towards Palestine and a nation for his people, Children of the Ghetto valorises the idea of the Jewish ghetto as a place of nostalgia, a setting that fosters affective attachment based not in anonymous communal imaginings but in lived and material proximity. Zangwill’s novel dramatises the difficulties in creating a minor community within a larger national community, and the extent to which form matters in how that community is envisioned.

The Promise and Threat of Reproducibility

2017 ◽  
pp. 25-53
Author(s):  
Erika Balsom
Keyword(s):  
Nineteenth Century ◽  
Film Theory ◽  
Distribution Networks ◽  
Late Nineteenth Century ◽  
Moving Image ◽  
Late Nineteenth ◽  
Film And Video ◽  
The Way

Film theory has largely overlooked the fact that film and video are founded in an economy of the multiple. In this chapter, I outline a theory of the moving image as a reproducible medium that considers the way an image may be copied repeatedly so as to facilitate circulation across distribution networks. By moving into this domain, one confronts not the questions of indexicality, documentary, and realism that so often get asked in relation to the image’s status as a copy of the profilmic; rather, issues of authority, originality, and authenticity become paramount. This chapter unfolds what is at stake in approaching the moving image in this way and will examine how its reproducibility has been conceived of as both a utopian promise and the site of a dangerous inauthenticity since its emergence in the late nineteenth century.

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