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Opera was a prominent political forum and a potent force for nineteenth-century nationalism. As one of the most popular forms of entertainment, opera could mobilize large crowds and became the locus of ideological debates about nation-building. Despite its crucial role in national movements, opera has received little attention in the context of nationalism. In Staging the Nation: Opera and Nationalism in 19th-Century Hungary, Krisztina Lajosi examines the development of Hungarian national thought by exploring the theatrical and operatic practices that have shaped historical consciousness. Lajosi combines cultural history, political thought, and the history of music theater, and highlights the role of the opera composer Ferenc Erkel (1810-1893) in institutionalizing national opera and turning opera-loving audiences into a national public.
Set against the backdrop of the rise of right-wing Christian nationalism in Eastern Europe, this book declares that Catholic theologians ought to be understood and studied as intellectuals: socially and historically situated creators of national cultural traditions. While the Romanian government funds thriving schools for the country’s Hungarian minority, NGOs founded by Transylvanian Hungarians continue to organize volunteers to supplement this formal pedagogy. These volunteers understand themselves to be reviving a national tradition of “serving the people” by educating the region’s rural Hungarian populace. While this book is about the challenges Catholic educators face in teaching villagers, it is just as much about their new effort to call groups of volunteers from across the border in Hungary to teach alongside them. In these encounters, Transylvanian Hungarian educators remake their intellectual tradition, especially ideas about the basis of pedagogical authority, the ethical character of the nation, and the social location of selfhood. When contemporary Catholic intellectuals urge teachers to manifest their national self-consciousness, they carry with them the assumption that selfhood emerges where humans collaborate with God. While Transylvanian Hungarian intellectuals are enmeshed in constant competition, by focusing on contemporary theologians New Magyar Apostles unmasks the struggle over the nature of divine presence that animates this revival of a Christian national tradition of intellectual service.
Historians often think of Russia before the 1860s in terms of conservative stasis, when the "gendarme of Europe" secured order beyond the country's borders and entrenched the autocratic system at home. This book offers a profoundly different vision of Russia under Nicholas I. Drawing on an extensive array of sources, it reveals that many of modern Russia's most distinctive and outstanding features can be traced back to an inconspicuous but exceptional year. Russia became what it did, in no small measure, because of 1837. The catalogue of the year's noteworthy occurrences extends from the realms of culture, religion, and ideas to those of empire, politics, and industry. Exploring these diverse issues and connecting seemingly divergent historical actors, Paul W. Werth reveals that the 1830s in Russia were a period of striking dynamism and consequence, and that 1837 was pivotal for the country's entry into the modern age. From the romantic death of Russia's greatest poet Alexander Pushkin in January to a colossal fire at the Winter Palace in December, Russia experienced much that was astonishing in 1837: the railway and provincial press appeared, Russian opera made its debut, Orthodoxy pushed westward, the first Romanov visited Siberia—and much else besides. The cumulative effect was profound. The country's integration accelerated, and a Russian nation began to emerge, embodied in new institutions and practices, within the larger empire. The result was a quiet revolution, after which Russia would never be the same.
This book translates recent scholarship into pedagogy for teaching Edith Wharton’s widely celebrated and less-known fiction to students in the twenty-first century. It comprises such themes as American and European cultures, material culture, identity, sexuality, class, gender, law, history, journalism, anarchism, war, addiction, disability, ecology, technology, and social media in historical, cultural, transcultural, international, and regional contexts. It includes Wharton’s works compared to those of other authors, taught online, read in foreign universities, and studied in film adaptations.
Grand palaces of culture, opera theaters marked the center of European cities like the cathedrals of the Middle Ages. As opera cast its spell, almost every European city and society aspired to have its own opera house, and dozens of new theaters were constructed in the course of the "long" nineteenth century. At the time of the French Revolution in 1789, only a few, mostly royal, opera theaters, existed in Europe. However, by the turn of the nineteenth and twentieth centuries nearly every large town possessed a theater in which operas were performed, especially in Central Europe, the region upon which this book concentrates. This volume, a revised and extended version of two well-reviewed books published in German and Czech, explores the social and political background to this "opera mania" in nineteenth century Central Europe. After tracing the major trends in the opera history of the period, including the emergence of national genres of opera and its various social functions and cultural meanings, the author contrasts the histories of the major houses in Dresden (a court theater), Lemberg (a theater built and sponsored by aristocrats), and Prague (a civic institution). Beyond the operatic institutions and their key stage productions, composers such as Carl Maria von Weber, Richard Wagner, Bedřich Smetana, Stanisław Moniuszko, Antonín Dvořák, and Richard Strauss are put in their social and political contexts. The concluding chapter, bringing together the different leitmotifs of social and cultural history explored in the rest of the book, explains the specificities of opera life in Central Europe within a wider European and global framework.
Using an interdisciplinary approach, this book brings together work in the fields of History, Literary Studies, Music and Architecture to examine the place of folklore and representations of ‘the people’ in the development of nations across Europe during the nineteenth century.
In nineteenth-century Europe the ruling elites viewed the theater as a form of communication which had enormous importance. The theater provided the most significant form of mass entertainment and was the only arena aside from the church in which regular mass gatherings were possible. Therefore, drama censorship occupied a great deal of the ruling class’s time and energy, with a particularly focus on proposed scripts that potentially threatened the existing political, legal, and social order. This volume provides the first comprehensive examination of nineteenth-century political theater censorship at a time, in the aftermath of the French Revolution, when the European population was becoming increasingly politically active.
How and why do listeners come over time to 'feel the nation' through particular musical works? This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well. MATTHEW RILEY is Reader in Music at the University of Birmingham. The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.
During the 1884 inauguration of the Royal Hungarian Opera House in Budapest, political elites staged a gala concert in the auditorium while the angry crowd, excluded from this ceremony, demonstrated on the street. In 1917, the crowds queuing to a Béla Bartók premiere needed to be forcibly held back. The book follows the history of the contested institution through a series of scandals, public protests, repertoire controversies and their representation in the urban press of the time. Such conflicts often led to larger issues that concerned the Opera House as a music institution, the birth of the modern public sphere and the modern audience. Thereby, the book calls for a critical rethinking of the cultural history of Budapest and Hungary in the late Habsburg Monarchy.
A product of Hungary's political ferment at the start of the twentieth century, Bela Bartok's works combine determination to participate in Western art movements coupled with an enthusiasm for the folk traditions of a disappearing world. In this introduction to Bartok's stage works, Julian Grant describes the score for Duke Bluebeard's Castle, a symbolist version of the Bluebeard myth. Included in this volume are also his ballet scenarios and discussions of the choreographic potential and musical qualities of the scores. Ferenc Bonis indicates the appeal for Bartok of the natural world, against the cataclysm of the First World War. Together, these works give an insight into issues of sexuality, humanity and creativity.Contents: Works contained in this volume: Duke Bluebeard's Castle, The Wooden Prince, The Miraculous Mandarin; Images the Self: 'Duke Bluebeard's Castle', Paul Banks; Bartok and 'World Music', Simon Broughton; Annie Miller, Keith Bosley and Peter Sherwood; A Foot in Bluebeard's Door, Julian Grant; Around the Bluebeard Myth, Mike Ashman; A kekszakallu herceg vara: Libretto by Bela Balazs; Duke Bluebeard's Castle: English translation by John Lloyd Davies; 'The Wooden Prince': A Tale for Adults, Ferenc Bonis; A fabol faragott kiralyfi: Scenario by Bela Balazs; The Wooden Prince: English translation by lstvan Farkas; 'The Miraculous Mandarin': The Birth and Vicissitudes of a Masterpiece, Ferenc Bonis; A csodalatos mandarin: Scenario by Menyhert Lengyel; The Miraculous Mandarin: English Translation by lstvan Farkas