Krest'ianskii dvor i obshchina na russkom Severer: Konets XVII-nachalo XVIII v. [The Peasant Household and Commune in the Russian North: The Late Seventeenth Century to the Early Eighteenth Century]

1979 ◽  
Vol 84 (4) ◽  
pp. 1099
Author(s):  
Heinz Ellersieck ◽  
E. N. Baklanova ◽  
P. A. Kolesnikov _au Heinz E. Ellersieck
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Peasant Household ◽  
Russian North ◽  
Early Eighteenth Century

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Gratitude in the Early Eighteenth Century

2020 ◽  
pp. 77-105
Author(s):  
Ashraf H. A. Rushdy
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Self Interest ◽  
Early Eighteenth Century

This chapter explores the writings of four philosophers who were either directly or implicitly responding to the philosophers of the seventeenth century discussed in the previous chapter. The chapter looks at two philosophers who seem to adopt parts of the Hobbesian worldview—Pufendorf and Mandeville—and two who explicitly contest it: Shaftesbury and Butler. The primary questions they ask involve human motivations—whether they can be altruistic or must be acts of self-interest or self-love.

City of Women, City of God

2018 ◽  
Author(s):  
Brianna Leavitt-Alcántara
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Religious Experience ◽  
Spiritual Renewal ◽  
Religious Orders ◽  
City Of God ◽  
Early Eighteenth Century ◽  
Demographic Shifts

Chapter 1 examines the hagiography of local holy woman Anna Guerra de Jesús who migrated to Guatemala’s capital in the late seventeenth century. While the early modern Catholic ideal of feminine piety prized enclosure, obedience, and virginity, Anna was neither nun nor virgin, but rather a poor abandoned wife and mother. And although Church decrees clearly required actively religious laywomen to live in cloistered communities, Anna became an independent beata (laywoman who took informal vows) and Jesuit tertiary. This chapter explores Anna’s lived religious experience as a poor migrant and abandoned wife and mother, her engagement with female mysticism and devotional networks, and her alliances with powerful priests and religious orders. It also places Anna’s story within the context of late seventeenth and early eighteenth-century Santiago de Guatemala, particularly urban demographic shifts and social tensions, as well as movements for spiritual renewal and enthusiastic lay female piety.

Whom Do We Trust to Translate? An Early Eighteenth-Century Muslim Translation of the Gospels into Persian

2018 ◽  
Vol 69 (2) ◽  
pp. 199-213
Author(s):  
Kenneth J. Thomas
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Native Speaker ◽  
Christian Community ◽  
Muslim Scholar ◽  
Early Eighteenth Century ◽  
Key Terms ◽  
Base Text

Seventeenth-century Muslim scholar Khatun Abadi, commissioned by his shah, was the first native speaker to translate the Gospels into Persian. The goal was an accurate rendition, accompanied by notes intended to address contradictions and false claims of Christians. The translation was completed in 1703 but first published in 1995, in Iran. Understanding translation to be an act of interpretation, this study asks if we can trust a translation made by someone who does not accept the interpretation of the community that calls the text scripture. Based on analysis of translator notes, translation deviations from its Arabic base text, and the choice of key terms, the study concludes that the translator maintained the text’s integrity with few exceptions but that his notes are problematic from the perspective of the Christian community. Lessons are suggested for Christian translators who work with persons of other faiths or prepare renditions to be used by them.

‘TO MAKE OF LISBON A NEW ROME’: THE REPERTORY OF THE PATRIARCHAL CHURCH IN THE 1720S AND 1730S

2011 ◽  
Vol 8 (2) ◽  
pp. 179-214 ◽  
Author(s):  
JOÃO PEDRO D'ALVARENGA
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Dynamic Process ◽  
Historical Consciousness ◽  
Early Eighteenth Century ◽  
Performance Conditions ◽  
Portuguese Music

ABSTRACTThe elevation of the Portuguese Royal Chapel to the rank of Patriarchal Church in 1716 was part of a larger process of ‘Romanization’ – that is, of assimilation and adaptation of Roman models within Portuguese music and culture. This involved the training of numerous chaplain-singers and young Portuguese composers in Rome, as well as the importation of chant books, ministers, singers and even the maestro di cappella of the Cappella Giulia, Domenico Scarlatti. According to the anonymous ‘Breve rezume de tudo o que se canta en cantochaõ, e canto de orgaõ pellos cantores na santa igreja patriarchal’ (Brief summary of all that is sung in plainchant and polyphony by the singers at the holy Patriarchal Church) – a document written at some point between 1722 and 1724 – the repertory of the Patriarchal Church was a varied mixture of works by thirty-two identified composers, mostly Italian and Portuguese, from a period ranging from the sixteenth century to the early eighteenth century. Some of the repertory for Holy Week is also extant in three large choirbooks prepared by a copyist from the Patriarchal Church in 1735 and 1736 for use in the Ducal Chapel in Vila Viçosa. These include ‘modern’ additions to late sixteenth-century and seventeenth-century pieces and also some curious reworkings, made with the purpose of adjusting older works to newly ‘Romanized’ performance conditions and aesthetic ideals. The sources examined in this article thus show that Portuguese ‘Romanization’, far from being a simple transplantation of ideas and practices from the centre to the periphery, was a dynamic process of acculturation and adaptation rooted in emerging forms of historical consciousness.

XXI: Mortality in Magherafelt, County Derry, in the early eighteenth century reappraised

1982 ◽  
Vol 23 (89) ◽  
pp. 50-60 ◽  
Author(s):  
William Macafee ◽  
Valerie Morgan
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Case Studies ◽  
Demographic History ◽  
Historical Demography ◽  
The Past ◽  
Detailed Case ◽  
Tax Returns ◽  
Early Eighteenth Century ◽  
Population Patterns

The study of Irish historical demography has long been an area of complexity and controversy; and the further back into the past the search for patterns and trends is pushed, the more the problems multiply. Much of the difficulty stems from the inadequacy and/or variability of the available sources. Hearth-tax returns, enumeration lists of various types, estate records and registers of baptisms, marriages and burials, all pose problems of interpretation and in addition, for any single area, they are likely to provide only fragmentary and discontinuous evidence. $$Largely because of these difficulties, only a limited number of detailed analyses of population patterns in specific areas as far back as the late seventeenth century and early eighteenth century have been attempted. Yet at the same time the work which has been done has made it apparent both that this is a crucial period in terms of demographic history and that only detailed case studies can provide the evidence necessary to enlarge upon our current very general understanding.

scholarly journals Politeness in eighteenth-century drama: a discursive approach

2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Andreas H. Jucker
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Middle Class ◽  
Moral Values ◽  
Communicative Acts ◽  
Restoration Drama ◽  
Testing Ground ◽  
History Of ◽  
Early Eighteenth Century ◽  
Good Behaviour

AbstractFictional texts constitute complex communicative acts between an author and an audience, and they regularly depict interactions between characters. Both levels are susceptible to an analysis of politeness. This is particularly true for early eighteenth-century drama, which – in the context of the age of politeness – established new dramatic genres to educate and edify their audiences. Characters were used to demonstrate good or bad behaviour as examples to be followed or avoided. Early eighteenth-century drama was a reaction against what was considered to be the immorality and profanity of Restoration drama of the seventeenth century. Two plays serve as illustrations and a testing ground for an analysis of fictional politeness that considers both communicative levels; the play itself and the interactions within the play. Richard Steele’s sentimental comedy “The Conscious Lovers” (1722) gives an example of good behaviour by being exceedingly polite to the audience in the theatre through characters that are exceedingly polite to each other; and George Lillo’s domestic tragedy “The London Merchant, or the History of George Barnwell” (1731) shows the “private woe” of everyday characters in order to warn the younger generation against wrongdoing and to propagate middle-class virtues and moral values.

“Of Experience, Zeal, and Selflessness”: Military Officers as Viceroys in Early Eighteenth Century Spanish America

2012 ◽  
Vol 68 (3) ◽  
pp. 317-345 ◽  
Author(s):  
Francisco A. Eissa-Barroso
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Military Service ◽  
Spanish America ◽  
Military Officers ◽  
Military Officer ◽  
Royal Authority ◽  
New Granada ◽  
Early Eighteenth Century ◽  
Administrative Experience

On February 18, 1724, field marshal Antonio Manso Maldonado arrived in New Granada as the president, governor, and captain-general of the New Kingdom. He had been appointed to this position on December 4, 1723, because both the crown and the Chamber of the Indies thought it would be best executed by a military officer. Manso Maldonado could boast more than 30 years of military service, proven loyalty, and administrative experience, much of it during the first reign of Felipe V. After joining the royal armies as a private, Manso Maldonado rose steadily through the ranks, fighting the Moors in Ceuta and the French in the wars of the late seventeenth century. During the War of the Spanish Succession, he served at the orders of the militant bishop of Murcia and last viceroy of Valencia, Luis Belluga, who praised Manso's valor directly to the king. Most important perhaps, at the end of the War of the Spanish Succession and upon the occupation of Catalonia by Bourbon forces, Manso Maldonado had served as teniente de rey in Gerona (1716-1719) and Barcelona (1719-1723), witnessing first-hand the implementation of the Nueva Planta and the enforcement of royal authority over the rebellious principality.

Instrumental Works from the Library of the Royal Conservatories, Brussels

10.31022/b215 ◽  
2021 ◽  
Author(s):  
Petrus Hercules Brehy
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Habsburg Empire ◽  
Professional Musicians ◽  
International Style ◽  
Early Eighteenth Century ◽  
Instrumental Works

Brussels native Petrus Hercules Brehy (1673–1737) composed twelve sonatas for two violins, viola, basso viola, and continuo around 1715–22, and two sonatas for five instruments and continuo approximately ten years later, all during his tenure as zangmeester of the Collegiate Church of SS. Michael and Gudula. Since 1929 the autograph manuscripts have been conserved at the Library of the Royal Conservatories of Music, Brussels. Unlike Brehy's earlier symphonias, these were not published during his lifetime and were written to be played by a mix of professional musicians, able clerics, and older choirboys. Six of the twelve sonatas for four instruments and continuo reflect the earlier polyphonic ensemble sonata da chiesa of the late seventeenth century, four feature the violin in more flamboyant soloistic passagework, and two contain elements of both idioms. The two sonates à 5 are consistent with the late Baroque international style. All the sonatas in this volume reflect the somewhat conservative religious style of a Habsburg Empire territory capital during the early eighteenth century.

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