Surrealism in Twentieth-Century Russian Poetry: Churilin, Zabolotskii, Poplavskii

Slavic Review ◽  
1967 ◽  
Vol 26 (4) ◽  
pp. 605-617 ◽  
Author(s):  
Simon Karlinsky
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Young Girl ◽  
Russian Word ◽  
Russian Poetry ◽  
Zinaida Gippius

All her life Zinaida Gippius remembered how startled she was when as a young girl she was told that the Russian word predmet was devised and introduced into the language by Karamzin at the very end of the eighteenth century. The discovery left her wondering how the Russians who lived before that time could discuss all sorts of basic things without a word denoting “object” in the language. We may well be startled in a similar way when we stop to realize that the handy adjective “surrealistic” was coined only in the late 1920s. Furthermore, the word did not initially mean what it came to mean later. When Vladimir Maiakovskii encountered the French Surrealists during his trip to Paris in 1927, he was not sure just what their movement was about but from their behavior concluded that they must be the French equivalent of his own LEF group.

The Gallic Singularity and the Royal Mistress

2020 ◽  
Vol 38 (1) ◽  
pp. 44-66
Author(s):  
Christine Adams
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Soft Power ◽  
Political Power ◽  
The Political ◽  
Marie Antoinette ◽  
Louis Xvi ◽  
Relationship Of ◽  
The Relationship ◽  
Political Realm

The relationship of the French king and royal mistress, complementary but unequal, embodied the Gallic singularity; the royal mistress exercised a civilizing manner and the soft power of women on the king’s behalf. However, both her contemporaries and nineteenth- and early twentieth-century historians were uncomfortable with the mistress’s political power. Furthermore, paradoxical attitudes about French womanhood have led to analyses of her role that are often contradictory. Royal mistresses have simultaneously been celebrated for their civilizing effect in the realm of culture, chided for their frivolous expenditures on clothing and jewelry, and excoriated for their dangerous meddling in politics. Their increasing visibility in the political realm by the eighteenth century led many to blame Louis XV’s mistresses—along with Queen Marie-Antoinette, who exercised a similar influence over her husband, Louis XVI—for the degradation and eventual fall of the monarchy. This article reexamines the historiography of the royal mistress.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

Poetics and subjectivities between classicism and Romanticism

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Literary Culture ◽  
Human Subjectivity ◽  
Literary Forms ◽  
Russian Poetry ◽  
Development Of Identity ◽  
Further Development

In the context of Sentimentalism in the 1770s, literary culture opened up to representations of human subjectivity. The chapter considers genres of poetry devoted to the themes of pleasure, death, and posterity. It also considers the spaces of poetry and modes of exchange, whether through the album, the salon, and the verse epistle. Two case studies explore the use of different literary forms in the further development of identity, individual and also authorial. The first looks at Radishchev’s experiment in writing a fictional diary as a psychological exercise. The second examines the tradition of imitation of Horace’s Monument poem in Russian poetry in the eighteenth century as well as by later poets, such as Pushkin and Brodsky. The case study shows how these Russian versions express changing ideas about imitation and originality as well as poets’ concern with posterity.

Orphans of the Empire: Lhasa’s Chinese Community from the Qing Era to the Early Twentieth Century

Modern China ◽  
2020 ◽  
pp. 009770042096992
Author(s):  
Huasha Zhang
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Social Influence ◽  
Significant Role ◽  
Chinese Population ◽  
Chinese Community ◽  
Academic Assessment ◽  
Early Twentieth Century ◽  
Cultural Traits ◽  
Early Eighteenth Century

This article analyzes the transformation of Lhasa’s Chinese community from the embodiment of an expansionist power in the early eighteenth century to the orphan of a fallen regime after the Qing Empire’s demise in 1911. Throughout the imperial era, this remote Chinese enclave represented Qing authority in Tibet and remained under the metropole’s strong political and social influence. Its members intermarried with the locals and adopted many Tibetan cultural traits. During the years surrounding the 1911 Xinhai Revolution, this community played a significant role in a series of interconnected political and ethnic confrontations that gave birth to the two antagonistic national bodies of Tibet and China. The community’s history and experiences challenge not only the academic assessment that Tibet’s Chinese population had fully assimilated into Tibetan society by the twentieth century but also the widespread image of pre-1951 Lhasa as a harmonious town of peaceful ethnic coexistence.

What Is Enlightenment? Eighteenth-Century Answers and Twentieth-Century Questions

1998 ◽  
Vol 21 (1) ◽  
pp. 126
Author(s):  
David Lindenfeld ◽  
James Schmidt
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century

The Land, People, and Problems of America in Eighteenth-Century Spanish Literature

1956 ◽  
Vol 12 (4) ◽  
pp. 363-384 ◽  
Author(s):  
Anthony Tudisco
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Spanish Literature ◽  
Social Scientist ◽  
Mother Country ◽  
The Social ◽  
Colonial Empire ◽  
National Life

Twentieth-Century historians accept the fact that history can no longer be viewed merely as past politics; it must now embrace all aspects of national life and thought—total history. In the study of a colonial empire, the social scientist must seek his sources not only in the colony but also in the mother country. The enumeration and analysis of American themes in the literature of imagination of eighteenth-century Spain can open new panoramas to the student of history since these themes reflect the ideas of the peninsular Spaniard and might help explain the reactions which they caused in the colonies.

Voltaire, Philosopher of Human Progress

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 356-364
Author(s):  
Virgil W. Topazio
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Mind ◽  
The Other ◽  
Single Addition ◽  
The One ◽  
Natural Philosophers ◽  
Popular Consent ◽  
Positive Knowledge ◽  
Separate Discipline

With the emergence of philosophy in the nineteenth century as a separate discipline which stressed primarily questions insoluble by empirical or formal methods, Voltaire's reputation as a philosopher has gone into gradual eclipse. It has become unfashionable and degrading for philosophers to concern themselves with the practical aspects of philosophical enquiry. In eighteenth-century France, on the other hand, the identification of philosophy with science, which by twentieth-century standards had vitiated philosophical thought, produced the “philosophes” or natural philosophers who were on the whole more interested in human progress than in the progress of the human mind. And Voltaire was by popular consent the leader of this “philosophe” group, the one who had unquestionably contributed the most in the struggle to make man a happier and freer member of society. Yet, ironically, despite a lifelong effort in behalf of humanity, Voltaire's reputation as a destructive thinker has steadily grown even as the critics have pejoratively classified him as a “practical” rather than a “real” philosopher. Typical of this criticism of Voltaire is Macaulay's statement: “Voltaire could not build: he could only pull down: he was the very Vitruvius of ruin. He has bequeathed to us not a single doctrine to be called by his name, not a single addition to the stock of our positive knowledge.”

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

Handel to Tempah

Migrant City ◽  
2020 ◽  
pp. 281-306
Author(s):  
Panikos Panayi
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
National Level ◽  
Cultural Transfer ◽  
External Influences ◽  
Short Run ◽  
Early Eighteenth Century ◽  
Evolution Of Music

This chapter explores how migrants have contributed to the evolution of music in London. Despite episodes of xenophobia in the London musical scene, xenophilia became stronger, partly driven by the fact that both music and musicians inevitably migrate. This is so that, while national traditions of music may emerge, the process of cultural transfer involving both sound and people mean that such traditions cannot remain sealed off from external influences, even if they may develop national-level identities, at least in the short run. While music and musicians crossed European boundaries, during the twentieth century both performers and their tunes have increasingly spanned global and consequently racial divides. The German assertion that nineteenth-century Britain constituted a ‘Land ohne Musik’ (land without music), while an exaggeration, partly explains the arrival of foreign musicians to Victorian London and the eras before and since. The constant settlement and visits by musicians to the British capital since the early eighteenth century meant that London did not become a city without music, even if the tunes and those who played them often originated from abroad.

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