Political Censorship of the Arts and the Press in Nineteenth-Century Europe. Robert Justin GoldsteinCensorship of Political Caricature in Nineteenth-Century France. Robert Justin GoldsteinThe World War, 1939-1945: The Cartoonists' Vision. Roy Douglas

1992 ◽  
Vol 64 (4) ◽  
pp. 760-763
Author(s):  
Gary D. Stark
Keyword(s):  
Nineteenth Century ◽  
World War ◽  
The Arts ◽  
The Press ◽  
Nineteenth Century France

Controlling Norwegian natural ice imports into the fishing port of Boulogne-sur-Mer, 1870-1910

2020 ◽  
Vol 32 (2) ◽  
pp. 490-498
Author(s):  
Effie Dorovitsa
Keyword(s):  
Public Health ◽  
Nineteenth Century ◽  
First World War ◽  
Fishing Industry ◽  
World War ◽  
Entry Points ◽  
The First World War ◽  
Nineteenth Century France ◽  
First World

From the 1870s until roughly the outbreak of the First World War, cargoes of Norwegian ice were shipped to numerous French ports. The ice was crucial for the smooth operation of many industries, especially those in the alimentation sector. The Northern French port of Boulogne-sur-Mer, with its thriving fishing industry, became one of the main entry points for imported Norwegian natural ice blocks. This Research Note is based on the holdings of Boulogne Municipal Archives and the Departmental Archives of the Pas de Calais region. It highlights the significant role that Norwegian ice imports could play in a port whose economy was largely based on the fisheries. It further reveals how concerns about the hygienic quality of natural ice dictated a series of regulations aimed at safeguarding public health in nineteenth-century France, and how these measures were introduced and tackled in Boulogne-sur-Mer. With a regulatory framework that strictly controlled inflows of Norwegian ice into French ports, a few Boulonnaise hygiene officials had to step in to protect the interests of the local fishing industry.

Political Censorship of the Theatre in Nineteenth-Century Europe

1987 ◽  
Vol 12 (3) ◽  
pp. 220-241
Author(s):  
Robert Justin Goldstein
Keyword(s):  
Nineteenth Century ◽  
World War I ◽  
European Country ◽  
European Countries ◽  
World War ◽  
The Press ◽  
Printed Word ◽  
End Stage

Censorship of the stage, like censorship of the printed word, was widespread and well-established in Europe in 1815. However, while prior censorship of the press was eliminated throughout Europe by 1914, European countries almost universally retained prior censorship of the stage until (and sometimes well after) World War I. England became the first major European country to abolish censorship of the press in 1695, yet Parliament systematized a formerly haphazard theatre censorship in 1737, and did not end stage censorship until 1968. Most other European countries did not eliminate press censorship until about the middle of the nineteenth century, while maintaining theatre censorship throughout the century, and typically exercised much harsher controls over the stage than over the printed word. As John Allen has noted, ‘In many times and places the drama has been subject to far greater censorship than any other form of literature or art’, reflecting governmental feelings that ‘the theatre, with its power of affecting an audience with possibly subversive emotions and ideas, is more to be feared’.

The Persistence of Open-Field Farming in Nineteenth-Century France

1980 ◽  
Vol 40 (3) ◽  
pp. 515-531 ◽  
Author(s):  
George W. Grantham
Keyword(s):  
Nineteenth Century ◽  
Open Field ◽  
First World War ◽  
Living Standards ◽  
Agricultural Change ◽  
World War ◽  
The First World War ◽  
Nineteenth Century France ◽  
Traditional Patterns ◽  
First World

The enclosure of the open fields is an example of Europeans' willingness to alter long-standing social and economic institutions in the interest of higher living standards. In Scandinavia, England, and Germany the rise in the value of enclosed relative to unenclosed land induced widespread abandonment of open-field forms of agrarian organization by the middle of the nineteenth century. In France, on the other hand, the traditional patterns of landholding maintained themselves until after the First World War. This paper examines some of the ways French farmers responded to the possibilities of agricultural change within the traditional framework of open-field agriculture.

scholarly journals DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850

2015 ◽  
Vol 58 (4) ◽  
pp. 987-1008 ◽  
Author(s):  
DAVID KENNERLEY
Keyword(s):  
Nineteenth Century ◽  
British Society ◽  
Major Theme ◽  
The Arts ◽  
The Press ◽  
New Ideas ◽  
Female Singers ◽  
British Press ◽  
And Gender ◽  
Mainstream Press

AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.

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