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Letter writing played a formative role in migration from Moravian villages to Texas settlements by being a channel of psychological support and emotional relief. The letters in the current study detail lives of brothers sharing news of events in Frenštát, Moravia, and adjustment to Texas, 1874 to 1876. The dialogue is framed by the historical situation in Moravia and Texas affecting migration, the grief that accompanied the brothers’ parting and despair over difficulties of acculturation. It reveals uncertainty of migrating, intensity of material and personal difficulties, and ways in which letters became the platform to negotiate it all. Analysis of the correspondence provides answers to the questions, through what specific knowledge the letters enrich and modify our current representation of migration history to the U.S. in the era of mass migration and in what ways they once shaped the migration discourse maintained in economically deprived regions of Moravia.

The Rise and Fall of Modern Japanese Literature tells the story of Japanese literature from its start in the 1870s against the backdrop of a rapidly coalescing modern nation to the present. John Whittier Treat takes up both canonical and forgotten works, the non-literary as well as the literary, and pays special attention to the Japanese state's hand in shaping literature throughout the country's nineteenth-century industrialization, a half-century of empire and war, its post-1945 reconstruction, and the challenges of the twenty-first century to modern nationhood. Beginning with journalistic accounts of female criminals in the aftermath of the Meiji civil war, Treat moves on to explore how woman novelist Higuchi Ichiy?'s stories engaged with modern liberal economics, sex work, and marriage; credits Natsume S?seki's satire I Am a Cat with the triumph of print over orality in the early twentieth century; and links narcissism in the visual arts with that of the Japanese I-novel on the eve of the country's turn to militarism in the 1930s. From imperialism to Americanization and the new media of television and manga, from boogie-woogie music to Yoshimoto Banana and Murakami Haruki, Treat traces the stories Japanese audiences expected literature to tell and those they did not. The book concludes with a classic of Japanese science fiction a description of present-day crises writers face in a Japan hobbled by a changing economy and unprecedented natural and manmade catastrophes. The Rise and Fall of Japanese Literature reinterprets the \"end of literature\"—a phrase heard often in Japan—as a clarion call to understand how literary culture worldwide now teeters on a historic precipice, one at which Japan's writers may have arrived just a moment before the rest of us.

When discussing certain activities of François-Joseph Fétis between 1846 and 1871 at the Royal Academy of Belgium, it is not only to underline the individual implication of the musicologist, but equally to follow the evolution of the Music section within the Fine Arts class during the first 25 years of the Academy's existence.

André Gill (1840-1885) produced twenty full-page caricatures related to music, which appeared on front pages of the Parisian newspapers La Lune (1865-1868) and L'Eclipse (1868-1876). Among them were takeoffs on composers (Wagner, Offenbach, Rossini, Auber, Hervé), singers (Hortense Schneider, Adelina Patti, Lea Silly, Marie Sass, Delphine Ugalde, Célestine Galli-Marié, Christine Nilsson, Victor Capoul, Marguerite Macé-Montrouge, José Dupuis, Christian, Anna Judie, Louise Théo) and there are also several group portraits. Iconographie clues in the pictures and evidence from contemporary sources indicate that the publication of each caricature is tied to a contemporaneous event or performance. Freedom of the press in the printed word, of which Paris was justly proud, did not extend to illustrations, and several of the caricatures illuminate issues of censorship in Paris during the time. They also throw light on the reception of composers and singers in Parisian society.

An essay discussing the reception of the Fisk Jubilee Singers, an African American choir that toured the United States and Europe in the 1870s, is presented. The author attempts to demonstrate that although the choir is rarely referred to as \"black\" the words \"weird\" and \"strange\" are often used to describe them. Historical records also demonstrate a difference in the description of this choir as opposed to other White vocalists and performers who seem to be considered more capable of artistic refinement.

A 15-year French patent was awarded to \"Madame Besson\" [née Florentine Ridoux] for \"improvements for piston-valved brass musical instruments\" on May 28, 1874. A series of drawings included in the patent illustrate improvements to the 3-port piston system and provide a valuable summary of the early phases of Périnet-valve history. Though long suspected, the patent of 1874 confirms the identity of Florentine Ridoux as the first \"Madame Besson,\" wife of Gustave Besson, founder of the Besson instrument manufacturer. The designs detailed in the patent's illustrations are examined.

Criticises de Kiewiet's discussion, and provides a reassessment, of British ideas concerning 'native policy' during the period in which Carnarvon attempted to establish a British 'confederation'. (Abstract amended)

Investigates aspects of German nationalism in music from the early 1870s when the country was undergoing political and economic transformation under the rule of Emperor Wilhelm I and Chancellor Otto von Bismarck. Notes that many composers of the period produced choral works glorifying Bismarck as the architect of the new German empire. Considers the \"Song of Triumph\" (Triumphlied) opus 55 of Brahms and the \"Bismarck Hymne\" opus 29 by his colleague Karl Reinthaler in musical, political, and cultural context.

For about four years at the end of the 1860s the white population of Natal was gripped by fear of black rape. The fear does not appear to have been engendered by any specific event, nor did it result in a marked increase of prosecutions for rape in the colonial courts. It ended as abruptly and mysteriously as it had begun. Stanley Cohen's theory of 'moral panics' does not offer a particularly appropriate explanation for this rape scare, but it does suggest fruitful lines of investigation by pointing to the relation between anxiety and the desire of the dominant classes in any society to maintain control. The hypothesis advanced in this case study is that fear of losing control was a constant undercurrent in the thinking of the settler minority. This substratum of anxiety rose to the surface in the form of a moral panic whenever disturbances in the economy or the body politic were severe enough to unsettle the mask of composure worn by the face of public authority. In a patriarchal society where women were part and parcel of property to be defended against threats from below, fear of rape was a special concern of white males. For that reason the study of colonial rape scares differ markedly from studies of rape pure and simple. Unravelling the complicated web of male concerns about gender, property and politics is a difficult business at any time, but some progress can be made by studies of this kind which focus on societies which believe they face a fundamental assault upon their domestic arrangements.