scholarly journals The Leipzig Model and its Consequences: Niels W. Gade and Carl Nielsen as European National Composers

2018 ◽  
Vol 59 (1-2) ◽  
pp. 71-78
Author(s):  
Michael Fjeldsøe
Keyword(s):  
Twentieth Century ◽  
Northern Europe ◽  
Zoltan Kodaly ◽  
International Recognition ◽  
Early Twentieth Century ◽  
International Reputation

The article discusses how the concept of “national composer” was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade was first recognized as a composer with a “Nordic tone” and it was because of that reason that he had, a meteoric career and was ranked as an important European composer. In the early twentieth century, Carl Nielsen replaced Gade as the most revered Danish composer; however, at that time, being a national composer was not an advantage to an international career, it was an obstacle, if anything.

scholarly journals Lister at home and abroad: a continuing legacy

2013 ◽  
Vol 67 (3) ◽  
pp. 281-294 ◽  
Author(s):  
M. Anne Crowther
Keyword(s):  
Twentieth Century ◽  
Medical Profession ◽  
Early Twentieth Century ◽  
International Reputation ◽  
Successive Generations ◽  
At Home

Joseph Lister's painstaking experiments in antiseptic lotions, dressings, and sutures in the 1860s and early 1870s seemed needlessly complex to his critics and were best understood by those who saw him in action. From the 1880s the acrimony subsided, and Lister's international reputation became a major asset to the medical profession, even as it discarded or bypassed many of his techniques. He was claimed as an influence by many new specialties, even though in some cases his links with the discipline were tenuous. By the early twentieth century Lister had become a focus of imperial sentiment, and his legacy is seen at home and abroad through successive generations of students from his Scottish universities.

Introduction

2017 ◽  
Author(s):  
Catherine Maxwell
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Victorian Literature ◽  
Literary Culture ◽  
Literary Language ◽  
Critical Writing ◽  
Victorian Fiction ◽  
Romantic Poetry ◽  
Early Twentieth Century ◽  
International Reputation

The Introduction outlines the scope and range of this study of perfume in Victorian literary culture, defining its terms and explaining its specific links with aestheticism and decadence during 1860–1900, the period in which British perfumery developed, expanded, and gained an international reputation. It also explains the important links between perfume and literary language, surveys various kinds of modern writing about smell and perfume, and indicates the relatively small amount of critical writing on olfaction in Victorian literature. Finally, signalling the broadly chronological organization of this monograph, it provides detailed chapter summaries which trace an evolutionary movement from Romantic poetry and early and mid-Victorian fiction to aestheticism, decadence, and the literature of the fin de siècle, ending with Virginia Woolf and Compton Mackenzie, two early twentieth-century novelists whose works provide contrasting reactions to Victorian scented literature and perfumed decadence.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

V1214: Edward Loughborough Keyes: An Early Twentieth Century Leader In Urology

2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor
Keyword(s):  
Twentieth Century ◽  
Early Twentieth Century

New insights into the controversy surrounding marine biological laboratory (Marine Station) facilities in the Firth of Clyde in the early twentieth century

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Marine Biological Laboratory ◽  
Biological Station ◽  
Marine Biological ◽  
Biological Laboratory ◽  
Early Twentieth Century ◽  
Marine Station ◽  
Regius Professor ◽  
Adjacent Island

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

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