How Significant Were The Major Historical Developments In The 19th Century
Europe had quite a lot of significant historical developments in the 19th century. The most important one had to be the advances in medicine. This also includes more knowledge and understanding of the human anatomy and also disease prevention. This were important developments because they were in part responsible for the accelerated growth in population around the western part of the world. In specific, Europe’s population doubled during this time.
Another very important historical development in Europe during the 19th century was that of the railroads and their introduction, which gave the very first major advancements in transportation via land, which is still with us centuries later. This was very significant because I changed people’s lifestyles and their ability to transport goods from point A to point B in a difference, easier way than before. This of course led to fueling major urbanization movements in many places around the world.
Finally, during this …show more content…
time there was an incredible widespread formation of new settlement foundations. This led about 70 million European people to leave their homeland, and for the most part the majority migrated to the United States of America
I think that out of the four given 19th century religious movements, the most influential has definitely got to be Evangelicalism. In general during that time, English language speakers move away from traditional religion defined by respect for authority, the past, and tradition. They now began to move toward a more individualistic, practical, and pragmatic practice of Christianity.
Realism, is the 19th century visual arts style that was the most revolutionary in terms of seeking out new forms of expression. Western art was dominated by idealized painting and high art, where visual arts were portrayed as “idealized” versions of many things, such as people, situations, and places. Realism, strayed away from that, and instead focused on capturing REAL people, real landscapes, and of course real situations and scenes such as the rural working life, and street life. Realism also increased bluntness in the treatments of the body, and nudity, which of course brought much shock to the upper level visual arts patrons. 19th century famous realist painters include Jean-Francois Millet, Honore Daumier, and Gustave Courbet. Famous 19th century realist paintings include but are not limited to Carl Spitzweg with “The Bookworm”, Ferdinand Georg Waldmuller with “Old Elms in Prater”, and Adolph von Menzel with “Living Room with the Artists Sister”.
In the 19th century, the glorious Golden Age of English landscape art arose in this category for visual arts. From the Continental plein air painting at Barbizon, and wilderness painting across the western United States via Hudson School. Within Romanticism, the Barbizon School of artist found its spotlight in the middle of the 19th century and pushed painting towards realism and an increased emphasis on images of nature. Instead of serving the purpose as a backdrop, these scene became the purpose and subject of the art work. A single artwork to teach this is that of Theodore Rousseau, with “The Banks of the Bouzanne River”.
In terms of metaphysics and epistemology, I am without a doubt an absolute idealist, and I am by no means an existentialist. Absolute Idealism is the view, that in order for human reason to be able to know the world at all, there must be, in some sense, an identity of thought and being, otherwise we would never have any means of access to the world, and we would have no certainty about any of our knowledge. Like Plato, Hegel argued that the exercise of reason enables the reasoned to achieve a kind of reality that mere physical objects like rocks can never achieve. Focused like Kant on the goal of showing how some fundamental unity underlies the confusing multiplicity of experimental contents, Hegel took a much more systematic approach by making absolute consciousness the key source of ultimate connections among all other things. “Being”, for example, is a basic concept that serves as a clear starting point for any serious thinker, but serious contemplation of its nature reveals it to be so completely empty of specific content that the mind is natural led to the thought of “Nothing” as its opposite, but these two are not really contradictory, since both may be unified under the more sophisticated and comprehensive notion of “Becoming”. “Idea” whose natural opposite is “Nature” , the otherness of the known considered independently of its relation to the knower, and the grand mixture of the two is “Spirit”, the self-knowing, self-actualizing totality of all that is namely, the absolute, itself. This represents Hegel’s fundamental beliefs that reality is wholly rational and that whatever is rational must be real.
In terms of political philosophy, I am a utilitarian. Utilitarian’s believe that the purpose of morality is to make life better by increasing the amount of good things in the world and decreasing the amount of bad things. The most important classical utilitarian’s are Jeremy Bentham and John Stuart Mill. Bentham’s Principle of Utility recognizes the fundamental role of pain and pleasure in human life, approves and disapproves of an action on the basis of the amount of pain or pleasure brought about, equates good with pleasure and evil with pain, and asserts that pleasure and pain are capable of quantification. John Stuart Mill adjusted the more pleasure-seeking tendencies in Bentham’s philosophy by emphasizing it’s not the quantity of pleasure but the quality of happiness that is central to utilitarianism, the calculus is unreasonable, and that it refers to the “Greater Happiness Principle”, which seeks to promote the capability of achieving happiness for the most amount of people. We can apply the principle of utility to either particular actions or general rules. The former is called “act-utilitarianism” and the latter is called the “rule-utilitarianism”.
The 19th century was a time of great richness and variety in theatre and performance.
Ballet, circus, opera, pantomime and music hall were all hugely popular. The three most significant developments in the music and dance of 19th century Europe were theatre, opera, and romantic ballet.
19th century Europe theatre was a significant developments because the sophisticated technology and machinery of the stage at this time produced a series of ‘sensation’ dramas in which special effects became the principle attraction. Scene painters working with expert technicians produced realistic reproductions of the natural world.
Another significant developments in the music and dance of the 19th century Europe was that of Opera. A sequence of great divas ruled opera at this time, while no male singer could match the height of their popularity. Opera was extremely fashionable during this time and audiences flocked to see foreign star singers who were considered exotic. A lot of great operas are still performed
today.
Finally, another significant development in the music and dance of the 19th century Europe was that of romantic ballet. In the beginning of the century, the Age of reason gave way to the age of the imagination and the Romantic Movement. Young artists, writers, poets and dancers wanted the freedom to express themselves in a spontaneous and individual way. Rejecting the classical ideas of order, harmony and balance they turned to nature as a source of inspiration. As people left the countryside and agriculture for the growing urban industries and factory work, the Romantic vision was partly an appeal for a return to a ‘natural’ life and party escape. The great Romantic ballerinas were idolized throughout Europe.
The 19th century was a time of poetry and prose rather than of drama. The Romantic style in poetry was seen everywhere in Europe. The most important mid-nineteenth-century writer was Charles Baudelaire, whose writings initiated the movement in poetry that would become known as “symbolism. Symbolist poets, like Verlaine, Mallarmé, and Rimbaud, believed that the concern of poetry should be the language itself and the expression of the inner self as it is indirectly revealed through the associations attached to words and the relationships between words. I think a single 19th century poem that best captures the essence of the 19th century is that of Wallace Stevens with “Sunday Morning.” The poem concerns itself with the temporariness of rich happiness, and somewhat contrasts the Christian with Greek views of life. The first sees our life on the earth as a preparation for the next. The second regards present existence as the all-important, and one that should be lived to the full.
Most of the major 19th century fictional prose writers narrate the conflicts endured by individuals seeking to carve out a destiny in the face of external limitations. A single 19th century prose fictional work that best captures the essence of the 19th century is that of German philosopher Karl Marx with his multi-volume work “Capital” which explains a theory of economic determinism. “Capital” describes a world in which money takes on such extraordinary importance that human beings are seen as the sum of the objects they can buy. This piece captures the comprehensiveness of the imaginative range, capturing a unique was to project a panoramic interpretation of human experience. The grand ambitions of the theories characterize the age in which the author lived as surely as the great marketing innovation of the era.
Another very important historical development in Europe during the 19th century was that of the railroads and their introduction, which gave the very first major advancements in transportation via land, which is still with us centuries later. This was very significant because I changed people’s lifestyles and their ability to transport goods from point A to point B in a difference, easier way than before. This of course led to fueling major urbanization movements in many places around the world.
Finally, during this …show more content…
time there was an incredible widespread formation of new settlement foundations. This led about 70 million European people to leave their homeland, and for the most part the majority migrated to the United States of America
I think that out of the four given 19th century religious movements, the most influential has definitely got to be Evangelicalism. In general during that time, English language speakers move away from traditional religion defined by respect for authority, the past, and tradition. They now began to move toward a more individualistic, practical, and pragmatic practice of Christianity.
Realism, is the 19th century visual arts style that was the most revolutionary in terms of seeking out new forms of expression. Western art was dominated by idealized painting and high art, where visual arts were portrayed as “idealized” versions of many things, such as people, situations, and places. Realism, strayed away from that, and instead focused on capturing REAL people, real landscapes, and of course real situations and scenes such as the rural working life, and street life. Realism also increased bluntness in the treatments of the body, and nudity, which of course brought much shock to the upper level visual arts patrons. 19th century famous realist painters include Jean-Francois Millet, Honore Daumier, and Gustave Courbet. Famous 19th century realist paintings include but are not limited to Carl Spitzweg with “The Bookworm”, Ferdinand Georg Waldmuller with “Old Elms in Prater”, and Adolph von Menzel with “Living Room with the Artists Sister”.
In the 19th century, the glorious Golden Age of English landscape art arose in this category for visual arts. From the Continental plein air painting at Barbizon, and wilderness painting across the western United States via Hudson School. Within Romanticism, the Barbizon School of artist found its spotlight in the middle of the 19th century and pushed painting towards realism and an increased emphasis on images of nature. Instead of serving the purpose as a backdrop, these scene became the purpose and subject of the art work. A single artwork to teach this is that of Theodore Rousseau, with “The Banks of the Bouzanne River”.
In terms of metaphysics and epistemology, I am without a doubt an absolute idealist, and I am by no means an existentialist. Absolute Idealism is the view, that in order for human reason to be able to know the world at all, there must be, in some sense, an identity of thought and being, otherwise we would never have any means of access to the world, and we would have no certainty about any of our knowledge. Like Plato, Hegel argued that the exercise of reason enables the reasoned to achieve a kind of reality that mere physical objects like rocks can never achieve. Focused like Kant on the goal of showing how some fundamental unity underlies the confusing multiplicity of experimental contents, Hegel took a much more systematic approach by making absolute consciousness the key source of ultimate connections among all other things. “Being”, for example, is a basic concept that serves as a clear starting point for any serious thinker, but serious contemplation of its nature reveals it to be so completely empty of specific content that the mind is natural led to the thought of “Nothing” as its opposite, but these two are not really contradictory, since both may be unified under the more sophisticated and comprehensive notion of “Becoming”. “Idea” whose natural opposite is “Nature” , the otherness of the known considered independently of its relation to the knower, and the grand mixture of the two is “Spirit”, the self-knowing, self-actualizing totality of all that is namely, the absolute, itself. This represents Hegel’s fundamental beliefs that reality is wholly rational and that whatever is rational must be real.
In terms of political philosophy, I am a utilitarian. Utilitarian’s believe that the purpose of morality is to make life better by increasing the amount of good things in the world and decreasing the amount of bad things. The most important classical utilitarian’s are Jeremy Bentham and John Stuart Mill. Bentham’s Principle of Utility recognizes the fundamental role of pain and pleasure in human life, approves and disapproves of an action on the basis of the amount of pain or pleasure brought about, equates good with pleasure and evil with pain, and asserts that pleasure and pain are capable of quantification. John Stuart Mill adjusted the more pleasure-seeking tendencies in Bentham’s philosophy by emphasizing it’s not the quantity of pleasure but the quality of happiness that is central to utilitarianism, the calculus is unreasonable, and that it refers to the “Greater Happiness Principle”, which seeks to promote the capability of achieving happiness for the most amount of people. We can apply the principle of utility to either particular actions or general rules. The former is called “act-utilitarianism” and the latter is called the “rule-utilitarianism”.
The 19th century was a time of great richness and variety in theatre and performance.
Ballet, circus, opera, pantomime and music hall were all hugely popular. The three most significant developments in the music and dance of 19th century Europe were theatre, opera, and romantic ballet.
19th century Europe theatre was a significant developments because the sophisticated technology and machinery of the stage at this time produced a series of ‘sensation’ dramas in which special effects became the principle attraction. Scene painters working with expert technicians produced realistic reproductions of the natural world.
Another significant developments in the music and dance of the 19th century Europe was that of Opera. A sequence of great divas ruled opera at this time, while no male singer could match the height of their popularity. Opera was extremely fashionable during this time and audiences flocked to see foreign star singers who were considered exotic. A lot of great operas are still performed
today.
Finally, another significant development in the music and dance of the 19th century Europe was that of romantic ballet. In the beginning of the century, the Age of reason gave way to the age of the imagination and the Romantic Movement. Young artists, writers, poets and dancers wanted the freedom to express themselves in a spontaneous and individual way. Rejecting the classical ideas of order, harmony and balance they turned to nature as a source of inspiration. As people left the countryside and agriculture for the growing urban industries and factory work, the Romantic vision was partly an appeal for a return to a ‘natural’ life and party escape. The great Romantic ballerinas were idolized throughout Europe.
The 19th century was a time of poetry and prose rather than of drama. The Romantic style in poetry was seen everywhere in Europe. The most important mid-nineteenth-century writer was Charles Baudelaire, whose writings initiated the movement in poetry that would become known as “symbolism. Symbolist poets, like Verlaine, Mallarmé, and Rimbaud, believed that the concern of poetry should be the language itself and the expression of the inner self as it is indirectly revealed through the associations attached to words and the relationships between words. I think a single 19th century poem that best captures the essence of the 19th century is that of Wallace Stevens with “Sunday Morning.” The poem concerns itself with the temporariness of rich happiness, and somewhat contrasts the Christian with Greek views of life. The first sees our life on the earth as a preparation for the next. The second regards present existence as the all-important, and one that should be lived to the full.
Most of the major 19th century fictional prose writers narrate the conflicts endured by individuals seeking to carve out a destiny in the face of external limitations. A single 19th century prose fictional work that best captures the essence of the 19th century is that of German philosopher Karl Marx with his multi-volume work “Capital” which explains a theory of economic determinism. “Capital” describes a world in which money takes on such extraordinary importance that human beings are seen as the sum of the objects they can buy. This piece captures the comprehensiveness of the imaginative range, capturing a unique was to project a panoramic interpretation of human experience. The grand ambitions of the theories characterize the age in which the author lived as surely as the great marketing innovation of the era.