Continental Influence on American Christian Thought Since World War I

1958 ◽  
Vol 27 (3) ◽  
pp. 256-272 ◽  
Author(s):  
Sydney E. Ahlstrom
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Eighteenth Century ◽  
World War I ◽  
Immanuel Kant ◽  
Theological Seminary ◽  
World War ◽  
Ecclesiastical History ◽  
Christian Thought ◽  
Princeton Theological Seminary

Just after the turn of the nineteenth century, the Rev. Samuel Miller, then a Presbyterian minister in New York but soon to become a professor of ecclesiastical history at the newly-founded Princeton Theological Seminary, published his ambitious Retrospect of the Eighteenth Century. He remarks in due course that “it would be improper to pass in silence the celebrated IMMANUEL KANT, Professor at Koeningsberg, in Prussia.” He then goes on to comment on the “extravagant panegyrics” of Kant's disciples, but having heard “that the acutest understanding cannot tolerably comprehend [this profound and extensive system] by less than a twelve-month's study,” he satisfied himself with a brief second-hand report. The incident might be considered an accurate commentary on the state of “Continental influence on American Christian thought” in 1803.

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

G. Sherwood Eddy and the Attitudes of Protestants in the United States toward Global Mission

1997 ◽  
Vol 66 (3) ◽  
pp. 502-521
Author(s):  
Rick Nutt
Keyword(s):  
World War I ◽  
The United States ◽  
Cultural Imperialism ◽  
Theological Seminary ◽  
World War ◽  
Reinhold Niebuhr ◽  
Global Mission ◽  
American Protestantism ◽  
Student Volunteer ◽  
Princeton Theological Seminary

G.Sherwood Eddy (1871–1963), a leading figure in American Protestantism through the first half of the twentieth century, is currently most often relegated to footnote references or mentioned only in relation to two of his most famous colleagues, Kirby Page and Reinhold Niebuhr. He was, however, one of the most renowned international evangelists of the time who worked closely with John R. Mott and Robert Speer in the Young Men's Christian Association (YMCA) and the Student Volunteer Movement (SVM). While a student at Yale, Eddy experienced a dramatic deepening of faith in 1889 at the famous Northfield Student Conference and then, while a student at New York's Union Theological Seminary and later at Princeton Theological Seminary, joined the SVM. Despite his seminary study, Eddy chose to remain a layman all his life. As a YMCA traveling evangelist in India from 1896 to 1911 and in Asia from 1911 to 1931, Eddy embodied many of the attitudes and methods of Protestant global mission for the approximately fifty years of its greatest activity. Primarily engaged in student evangelization, Eddy manifested a deep ambivalence toward the method of mission work. An examination of Eddy's life reveals that in Eddy one finds both the cultural imperialism with which nineteenth-century missionaries are often charged and a sensitivity to other peoples and a commitment to indigenous churches and leadership.While Eddy's ministry spanned over five decades, this essay concentrates on Eddy's labor prior to World War I, for in those years Eddy was most in conflict withhimself.

scholarly journals Nádors Erzählungen oder das Budapester Dreimäderlhaus. Ein Beitrag zur Budapester Offenbach-Rezeption

2016 ◽  
Vol 57 (3-4) ◽  
pp. 471-484
Author(s):  
Péter Bozó
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
World War I ◽  
World War ◽  
National Library ◽  
New Production ◽  
Music Department

Mihály Nádor’s and Jenő Faragó’s three-act operetta entitled Offenbach was one of the biggest theater successes in Budapest in the period following World War I. The piece, whose first performance took place at the Király Theater in 1920, was also premiered in Vienna, Prague, Munich and in different adaptations in Berlin and New York. It represents a popular type of operetta of the era, whose main protagonists are nineteenth-century composers, and whose music was partly or entirely compiled of melodies taken from the musicians in question. In my study, I examine the extant musical and textual sources of the piece partly belonging to the composer’s estate preserved at the Music Department of the Széchényi National Library. I interpret Nádor’s work as a document of the Budapest Offenbach reception, and I reveal some intriguing differences between the Budapest and Vienna versions of the piece. I also demonstrate that the operetta was in all likelihood an imitation of Henrich Berté’s similar piece, Das Dreimäderlhaus, which was performed in every Budapest operetta theater between 1916 and 1924. At the same time, however, a successful new production of Offenbach’s La Belle Hélène was likewise an important antecedent for Nádor’s operetta.

Garveyism Root and Branch

2019 ◽  
pp. 15-58
Author(s):  
Michael O. West
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
World War I ◽  
White Supremacy ◽  
Haitian Revolution ◽  
Modern World ◽  
World War ◽  
Black Liberation ◽  
Pan Africanism ◽  
Black World

The Garvey movement was at once an end and a beginning. Although very much a product of its time – the immediate post-World War I era – Garveyism was an end in that it summarized much of the thought and struggle of nineteenth-century pan-Africanism and black nationalism. Marcus Garvey, not so much the man as the metaphor, and the United Negro Improvement Association, not so much the institution as the inspiration, sealed up a certain tradition (which included Toussaint Louverture’s Haitian Revolution and black revivalists) in the movement for black liberation in the modern world. At the same time, Garveyism was also a beginning, casting a long shadow on contemporary and subsequent movements against colonialism and white supremacy throughout the black world, including phenomena such as the Moorish Science Temple and Rastafari. This chapter places Garveyism at the center of a narrative spanning from the emergence of pan-Africanism in the eighteenth century to the Ethiopian crisis of 1935.

The Fascist Turn in the Dance of Serge Lifar

2020 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Nineteenth Century ◽  
World War Ii ◽  
World War I ◽  
Critical Reception ◽  
World War ◽  
Close Attention ◽  
Before And After ◽  
Gradual Development ◽  
Critical Discourses

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.

scholarly journals The Westphalian model and sovereign equality

2011 ◽  
Vol 38 (3) ◽  
pp. 641-660 ◽  
Author(s):  
PETER M. R. STIRK
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
International Relations ◽  
Second World War ◽  
Late Nineteenth Century ◽  
World War ◽  
Sovereign Equality ◽  
Normative Principle ◽  
Late Nineteenth ◽  
Second World

AbstractAlthough the Westphalian model takes many forms the association of Westphalian and sovereign equality is a prominent one. This article argues firstly that sovereign equality was not present as a normative principle at Westphalia. It argues further that while arguments for sovereign equality were present in the eighteenth century they did not rely on, or even suggest, a Westphalian provenance. It was, for good reasons, not until the late nineteenth century that the linkages of Westphalia and sovereign equality became commonplace, and even then sovereign equality and its linkage with Westphalia were disputed. It was not until after the Second World War, notably through the influential work of Leo Gross that the linkage of Westphalia and sovereign equality became not only widely accepted, but almost undisputed until quite recently. The article concludes by suggesting that not only did Gross bequeath a dubious historiography but that this historiography is an impediment to contemporary International Relations.

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