Composer and musicologist Nicolas Slonimsky published a fascinating and delightful book entitled Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time (Slonimsky 1965). The book is a collection of what Slonimsky called “biased, unfair, ill-tempered, and singularly unprophetic judgments” (p. 3) about famous composers and their works. We find, for example, the Gazette Musicale de Paris on August 1, 1847, saying of Verdi, “there has not yet been an Italian composer more incapable of producing what is commonly called (...) a melody.” And this publication stuck to its guns. On May 22, 1853, it said of Rigoletto that it “lacks melody. This opera has hardly any chance to be kept in the repertoire.” The May 1804 issue of Zeitung für die Elegente Welt proclaimed Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect................ (shrink)

The development of psychology includes the rejection of concepts and movements some groups consider undesirable, such as psychical research. One such example was the way psychologists dealt with phenomena such as telepathy and mediumship in the first five international congresses of psychology held between 1889 and 1905. This included papers about telepathy and mediumship by individuals such as Gabriel Delanne, Léon Denis, Théodore Flournoy, Paul Joire, Léon Marillier, Frederic W. H. Myers, Julian Ochorowicz, Charles Richet, Eleanor M. Sidgwick, and Henry (...) Sidgwick. These topics were eventually rejected from the congresses, and provide us with an example of the boundary-work psychologists were engaging during the period to build their discipline. The height of such presentations took place at the 1900 congress, after which there was a marked decline in discussion on the topic that mirrored the rejection science at large showed for psychical research during the period in question. (shrink)