In Praise of Convention: Formula and Experiment in Bellini's Self-Borrowings

2000 ◽  
Vol 53 (1) ◽  
pp. 25-68 ◽  
Author(s):  
Mary Ann Smart
Keyword(s):  
Nineteenth Century ◽  
Empty Space ◽  
The Self ◽  
Musical Language ◽  
Bel Canto ◽  
Early Nineteenth Century ◽  
Italian Opera ◽  
As If

In the 1880s, the realization that Bellini had extensively reused melodies from early or unfinished works in his most famous operas provoked a small aesthetic crisis in Italy. Although today such reuse of material is no longer looked upon as a scandalous breach of compositional integrity, scholars have been slow to examine Bellini's self-borrowings for clues to the evolution of his style or to his attitudes toward the relations between melody and drama. Most of Bellini's self-borrowings show the composer simplifying his melodies, reducing harmonic and melodic variety as if to distance himself from bel canto convention. At the same time, melodic convention is essential to understanding the borrowings, a fact that becomes particularly obvious in those cases where dramatic parallels between the two contexts of a melody are obscure or nonexistent. For example, the recasting of a cheerful cabaletta in Zaira as a lament in I Capuleti e i Montecchi relies on a resemblance between melodic figures conventionally used to imitate tears or laughter-but also critiques those conventions. An allusive relationship between refrains in Il pirata and I puritani similarly derives its logic more from a shared musical evocation of solitude and empty space than from any overt dramatic resemblance between the two scenes. The article argues that for Bellini self-borrowing was entangled with the looser techniques of allusion and reliance on melodic convention. For this reason, study of the self-borrowings provides a model for engaging with the musical language of early nineteenth-century Italian opera, redressing the tendency to dismiss its musical detail as "merely" conventional and thus unworthy of analysis.

‘Stage music’ in early nineteenth-century Italian opera

1990 ◽  
Vol 2 (1) ◽  
pp. 29-39 ◽  
Author(s):  
Luca Zoppelli
Keyword(s):  
Nineteenth Century ◽  
Mikhail Bakhtin ◽  
Social Condition ◽  
The Other ◽  
Musical Language ◽  
Musical Work ◽  
Early Nineteenth Century ◽  
Italian Opera ◽  
Modern Novel ◽  
Opposite Pole

It has become commonplace to assume that language and style in Italian opera are not a unified phenomenon, easily comparable with the language and style of a purely musical work. Rather they constitute the various elements of a plurilinguistic interplay in which the opposite pole from ‘the author’ is the characters: those figures whose personality, function and social condition command an individual musical language. Musical expression is determined by an interaction of the author's discourse with the fictive discourse of characters; even when one or the other seems to dominate, there remains an important, implicitly dialogic element, one that can sometimes be inferred solely from a sense of discordant context. In many instances, therefore, operatic discourse suggests analogies with the ‘dialogic’ nature of the modern novel posited by the Russian critic Mikhail Bakhtin.

Colonies at Home: Loudon's Encyclopaedia, and the architecture of forming the self

1999 ◽  
Vol 3 (3) ◽  
pp. 245-258
Author(s):  
John Macarthur
Keyword(s):  
Nineteenth Century ◽  
North America ◽  
The Self ◽  
Early Nineteenth Century ◽  
Agricultural Reform ◽  
Social Technologies ◽  
Small House ◽  
At Home

In the early nineteenth century, the small house in its own garden formed a crucial image of agricultural reform in Britain and in the aspirations of those leaving for North America and Australasia. The material and social technologies of the ‘cottage’ became not only equipment for the colonial enterprise, but a kind of colonization of the home by a new kind of family. These issues are apparent in J. C. Loudon's Encyclopaedia where the whole gamut of architecture is re-examined as a subject of interest to agricultural reformers, colonists, democrats and homemakers, especially women.

The Anglican Origins of Newman's Celibacy

1996 ◽  
Vol 65 (1) ◽  
pp. 15-27 ◽  
Author(s):  
B. W. Young
Keyword(s):  
Nineteenth Century ◽  
Church Of England ◽  
John Henry Newman ◽  
Victorian England ◽  
Early Nineteenth Century ◽  
Intellectual Tradition ◽  
Robert Southey ◽  
The Church ◽  
As If

In his historical defense of the doctrines of the Church of England, published in 1826, Robert Southey assumed that “the question concerning the celibacy of the clergy had been set at rest throughout Protestant Europe.” The conclusion that Anglicanism necessarily entailed the rejection of celibacy was, in early-nineteenth-century England, decidedly premature, and the ambiguity over celibacy in the Church of England is starkly and exceptionally exposed in the life and work of John Henry Newman. Recent assessments of Newman's peculiar standing in Victorian society have often emphasized the sexual—or rather, the seemingly sexless—dimension of his image, as if to concur with Sydney Smith's celebrated witticism: “Don't you know, as the French say, there are three sexes—men, women, and clergymen?” The nature of specifically clerical celibacy, however, and its influence on the young Newman, have tended to be overlooked in favor of a general psychosexual understanding of his own unwillingness to marry. As an antidote to such readings, this essay will explore the distinctively Anglican and firmly intellectual tradition behind Newman's decision, and will thereby argue that his celibacy was not as “perverse”—a word which, in Victorian England, connoted conversion to Catholicism as well as sexual peculiarity—as it has sometimes been made to seem.

The Eighteenth-Century Ballet-Pantomime and Modern Mime

2009 ◽  
Vol 25 (1) ◽  
pp. 22-43
Author(s):  
Edward Nye
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
French Literature ◽  
The Body ◽  
Early Nineteenth Century ◽  
Literary Aesthetics ◽  
The Arts ◽  
Compare And Contrast ◽  
Lincoln College ◽  
As If

Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).

Minds Intensely Unsettled: Phrenology, Experience, and the American Pursuit of Spiritual Assurance, 1830–1880

2006 ◽  
Vol 16 (2) ◽  
pp. 227-261 ◽  
Author(s):  
Christopher G. White
Keyword(s):  
Nineteenth Century ◽  
Spiritual Growth ◽  
The Self ◽  
Early Nineteenth Century ◽  
New Science ◽  
Wide Range ◽  
Spiritual Struggles

AbstractStarting in the middle decades of the nineteenth century, a group of American Christians rejected their parents’ Calvinism and fashioned new views of sin, the self, and spiritual growth. These believers were aided in this process by new, psychological sciences such as phrenology, sciences that pointed to the existence of powerful spiritual faculties in the self and new ways of using and measuring them. Especially for those who felt paralyzed by sensibilities of sinfulness and moral impotence, phrenology was a liberation. But phrenology appealed to Americans for other reasons as well. By linking mental and spiritual states to physiological structures, phrenology brought the mysterious emotions and dispositions of faith to the surfaces of the self, where they could be more easily understood and reflected upon. Inner conditions could be discerned in bumps and contours of the head and body or even in one's characteristic postures and gestures. In short, the new science made confounding inner spaces visible again. This article explores the spiritual struggles of a wide range of believers who used phrenology to develop more sober and measured, and therefore more certain, forms of spiritual assurance. It argues that, beginning in the early nineteenth century, a broad coalition of religious liberals used these new, scientific psychologies such as phrenology to find in external, especially bodily, conditions signs of inner spiritual states.

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