Thematische Bibliographien / 1876-1889

Auswahl der wissenschaftlichen Literatur zum Thema „1876-1889“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "1876-1889"

1

Pushkin, S. V. „Discoveries of Carpet Beetles (Coleoptera: Dermestidae) of the South of Russia“. Entomology and Applied Science Letters 4, Nr. 2 (27.05.2017): 29. http://dx.doi.org/10.24896/easl2017427.

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SUMMARY. As a result of the collecting in 2003–2015 in the south part of European Russia and in the North Caucasus 15 species of the carpet beetles (Dermestidae) were found, which was firstly recorded for the Russian territory or was recently listed without specific information: Dermestes intermedius Kalik, 1951, Dermestes elegans Gebler in Ledebour, 1830, Attagenus fasciolatus (Solsky, 1876), Anthrenus amoenulus Reitter, 1896, Anthrenus zebra Reitter, 1889, Anthrenus latefasciatus Reitter, 1892, Anthrenus olgae Kalik, 1946, Anthrenus tadzhicus Mroczkowski, 1961, Anthrenus hissaricus Mroczkowski, 1961, Anthrenus sordidulus Reitter, 1889, Attagenus ionicus Zhantiev, 2005, Attagenus unicolor simulans Solsky, 1876, Attagenus suspiciosus Solsky, 1876, Ctesias hajeki Hava, 2005, Megatoma conspersa Solsky, 1876.
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2

Candar, Gilles. „Le jeune Jaurès (1876-1889) et la relance des Œuvres“. Cahiers d’histoire. Revue d’histoire critique, Nr. 109 (01.07.2009): 123–26. http://dx.doi.org/10.4000/chrhc.1933.

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3

Renwick, Chris. „The Practice of Spencerian Science: Patrick Geddes's Biosocial Program, 1876–1889“. Isis 100, Nr. 1 (März 2009): 36–57. http://dx.doi.org/10.1086/597574.

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4

Soares, Flávia dos Santos. „O ensino de matemática na Escola Normal da Corte (1876-1889)“. Revista HISTEDBR On-line 13, Nr. 54 (22.03.2014): 128. http://dx.doi.org/10.20396/rho.v13i54.8640173.

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No século XIX várias foram as iniciativas de selecionar candidatos ao magistério primário no Brasil. Dentre os modelos existentes estão a nomeação de professores por concursos públicos e, por outro lado, as tentativas de formação pelas Escolas Normais. Na cidade do Rio de Janeiro, a criação de uma escola normal ocorreu somente em 1880, após uma longa trajetória de lutas e embates. O objetivo deste texto é investigar quais eram as diretrizes para o ensino de Matemática na Escola Normal da Corte, locus de formação criado para substituir a nomeação de professores por concurso. Neste artigo são feitas considerações sobre os conteúdos de Matemática ministrados, os professores e as obras didáticas usadas como referência na constituição de saberes para esse novo modelo de formação de professores.
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Márquez, Javier A., Romina E. Principe, Diego E. Berejnoi, José S. Rodríguez, José C. Bedano und Carlos Molineri. „Dragonflies and damselflies (Odonata) from Córdoba and San Luis provinces, Argentina“. Check List 15, Nr. 2 (19.04.2019): 327–37. http://dx.doi.org/10.15560/15.2.327.

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Nineteen geographical records for species of Odonata in 2 provinces of Argentina are documented. We provided records for 9 newly recorded species for Córdoba: Lestes spatula Fraser, 1946, Andinagrion peterseni (Ris, 1908), Argentagrion ambiguum (Ris, 1904), Erythemis attala (Selys in Sagra, 1857), Erythemis plebeja (Burmeister, 1839), Erythrodiplax media Borror, 1942, Micrathyria longifasciata Calvert, 1909, Micrathyria hypodidyma Calvert, 1906, and Tramea cophysa Hagen, 1867. In San Luis, we provided records for 10 newly recorded species: Hetaerina rosea Selys, 1853, Acanthagrion lancea Selys, 1876, Ischnura fluviatilis Selys, 1876, Oxyagrion rubidium (Rambur, 1842), Castoraeschna decurvata Dunkle & Cook, 1984, Rhionaeschna pallipes (Fraser, 1947), Phyllocycla argentina (Hagen in Selys, 1878), Erythrodiplax corallina (Brauer, 1865), Perithemis mooma Kirby, 1889, and Planiplax erythropyga (Karsch, 1891). Among these records, we extend the geographic distribution of A. peterseni and R. pallipes, which are endemic to Argentina and recorded P. erythropyga for the first time in Chaco phytogeographic province.
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Adriano, André Ricardo, Antonio Gomes Neto, Gustavo R. Hamester, Daniel H. Nunes und Gabriella Di Giunta. „Pênfigo vegetante induzido por uso de enalapril“. Anais Brasileiros de Dermatologia 86, Nr. 6 (Dezember 2011): 1197–200. http://dx.doi.org/10.1590/s0365-05962011000600023.

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Pênfigo Vegetante foi primeiramente descrito como uma variante do pênfigo vulgar, em 1876, por Neumann. Em 1889, Hallopeau descreveu um paciente com pústulas e placas vegetantes, e sugeriu ser uma variante do Pênfigo Vegetante de Neumann. Ambos os tipos de pênfigo vegetante são caracterizados pelo desenvolvimento de placas vegetantes, especialmente, em dobras (axila, inguinal, perianal). Os autores apresentam e discutem um caso de Pênfigo Vegetante com uma clínica incomum, com ausência de acometimento de mucosas e áreas de flexão, em paciente idosa, associado ao uso de enalapril como possível desencadeador. Diagnóstico clínico e histológico sugestivos de Pênfigo Vegetante tipo Hallopeau.
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Dündar Şahin, Hülya. „Osmanlı-Türk Romanında Modernleşmenin Karakterler Üzerindeki Yansımaları“. Korkut Ata Türkiyat Araştırmaları Dergisi, Nr. 15 (28.04.2024): 295–317. http://dx.doi.org/10.51531/korkutataturkiyat.1457707.

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Bu çalışmada, Osmanlı Devleti’nde Tanzimat’la birlikte başlayan Batılılaşmanın, Osmanlı-Türk romanına nasıl yansıdığı, Batılılaşma olgusunun ve Doğu-Batı sorunsalının romanlarda ne şekilde ele alındığı, seçilen dokuz roman üzerinden değerlendiriliyor. Bu değerlendirme için, öncelikle, “modern”in ne olduğu ve modernleşmenin farklı yorumları üzerinde duruluyor. Ardından seçilen romanlar, Batılılaşmanın bir yansıması olarak karakterler üzerinden inceleniyor. Ele alınan romanlar başlıca üç dönemi temsil ediyor: Tanzimat Dönemi, Servet-i Fünûn Dönemi ve Cumhuriyet Dönemi. Batılılaşmanın, Tanzimat Dönemi’nde nasıl kavrandığı, Ahmet Mithat Efendi’nin Felâtun Bey ve Rakım Efendi (1876), Recaizade Mahmut Ekrem’in Araba Sevdası (1876) ve Hüseyin Rahmi Gürpınar’ın Şık (1889) adlı yapıtlarında irdeleniyor. Servet-i Fünûn Dönemi’nde, Batılılaşma anlayışında meydana gelen değişim ise Halit Ziya Uşaklıgil’in Aşk-ı Memnu (1900) ve Mehmet Rauf’un Eylül (1900) adlı romanları aracılığıyla ortaya çıkartılıyor. Cumhuriyet Dönemi’nden ise Yakup Kadri Karaosmanoğlu’nun Yaban (1932), Reşat Nuri Güntekin’in Yeşil Gece (1928), Peyami Safa’nın Fatih-Harbiye (1931) ve Ahmet Hamdi Tanpınar’ın Huzur (1949) adlı romanları ele alınarak Batılılaşmanın, bu romanlarda nasıl ve ne şekilde işlendiği gösteriliyor. Böylece Batılılaşmanın, Osmanlı Devleti’nden başlayıp Cumhuriyet Dönemi’ne kadar olan süreçte kazandığı yeni boyutlar açığa çıkıyor.
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8

Brinkman, P. D., und S. F. Vizcaíno. „Clemente Onelli's sketch map and his first-hand, retrospective account of an early fossil-hunting expedition along the Río Santa Cruz, southern Patagonia, 1888–1889“. Archives of Natural History 41, Nr. 2 (Oktober 2014): 326–37. http://dx.doi.org/10.3366/anh.2014.0251.

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A 1922 letter from Clemente Onelli to North American paleontologist Elmer S. Riggs, found at Chicago's Field Museum, is one of only a few known first-hand accounts of the former's participation on a fossil hunting expedition along the Río Santa Cruz, southern Patagonia, 1888–1889. Onelli and his companions, who were sent to Patagonia by Francisco P. Moreno, director of the Museo de La Plata, were among the first to collect fossil mammals at this important locality. Moreno had first discovered fossil mammals there in 1876–1877. He then sent Carlos Ameghino, who worked as an assistant preparator of palaeontology at the museum, to revisit his discoveries in January 1887. Ameghino later lost his position at the museum over a dispute between his brother, paleontologist Florentino Ameghino, and the director, in March 1889. Onelli, who had only been associated with the Museo de La Plata for a few short months, was asked by Moreno to accompany a new expedition outfitted in 1888–1889. In December 1922, Riggs travelled to South America to make a representative collection of the fossil mammals of Argentina and Bolivia. Learning of his arrival in Buenos Aires, Onelli wrote him a letter, in Spanish, providing detailed information about fossil localities along the Río Santa Cruz. This letter, translated here, along with the accompanying sketch map, provides previously unknown details about Onelli's itinerary and his observations.
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9

SMETANA, ALEŠ. „Contributions to the knowledge of the “Staphylinus-complex” (Coleoptera: Staphylinidae: Staphylinini) of China. Part 21. The genus Ocypus Leach, 1819, subgenus Pseudocypus Mulsant & Rey, 1876. Section 4“. Zootaxa 2286, Nr. 1 (10.11.2009): 1–30. http://dx.doi.org/10.11646/zootaxa.2286.1.1.

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The paper deals with the species of the picipennis- and fuscatus-lineages of the subgenus Pseudocypus Mulsant & Rey, 1876 of the genus Ocypus Leach, 1819, known to occur at present on the territory of the People’s Republic of China, in the Russian Far East, and in Japan. Eight species are treated, all previously described: O. picipennis (Fabricius, 1793), O. helleni (J. Müller, 1926), O. aenescens Eppelsheim, 1889, O. inexspectatus Eppelsheim, 1887, O. shiretokensis Hayashi, 2008, O. graeseri Eppelsheim, 1887, O. fuscatus (Gravenhorst, 1802) and O. nigroaeneus Sharp, 1889. Based on the study of the type material, the following new synonymies are proposed: Staphylinus (Pseudocypus) rambouseki J. Müller, 1925 and Pseudocypus fuscatoides Coiffait, 1964 are placed in synonymy with Ocypus (Pseudocypus) graeseri Eppelsheim, 1887. Ocypus eppelsheimi Reitter, 1887 is transfered to the genus Miobdelus Sharp, 1889 (comb. nov.); Miobdelus montivagus Smetana, 2001 becomes a junior objective synonym of it (syn. nov.). Lectotypes are designated for Ocypus helleni, Ocypus rambouseki, Ocypus nigroaeneus and Ocypus eppelsheimi. Neotype is designated for Ocypus graeseri Eppelsheim, 1887. Each species is described, illustrated and all available distributional and bionomic data are given. A key to the species of the picipennis- and fuscatus-lineages of the subgenus Pseudocypus, that occur in People’s Republic of China, in the Russian Far East, and in Japan, is given.
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Marusik, Yu M., und A. A. Nadolny. „Redescription of Hippasa deserticola, the northernmost species of Hippasa (Aranei: Lycosidae), with taxonomic notes on other species of the genus“. Zoosystematica Rossica 30, Nr. 2 (31.10.2021): 222–35. http://dx.doi.org/10.31610/zsr/2021.30.2.222.

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Hippasa deserticola Simon, 1889, stat. resurr., thought to be a synonym of H. partita (O.Pickard-Cambridge, 1876) is revalidated and redescribed. Two names, Trochosa loeffleri Roewer, 1955, syn. nov., and H. afghana Roewer, 1960, syn. nov., are synonymised with H. deserticola; H. cinerea Simon, 1898, syn. nov., is synonymised with H. partita. The distribution of H. deserticola is mapped based on the published data and the specimens examined. The embolic division and the tegular apophysis in two species belonging to different species groups are illustrated for the first time as well as modification of cuticle on the tibiae. The taxonomic status of H. partita is briefly discussed.
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Dissertationen zum Thema "1876-1889"

1

Lecomte, Jean-Marie. „Les composés poétiques dans l'écriture de Gerard Manley Hopkins (Poèmes 1876-1889)“. Nancy 2, 2001. http://docnum.univ-lorraine.fr/public/NANCY2/doc229/2001NAN21014_1.pdf.

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Les composés poétiques et les structures synthétiques à traits d'union de Gerard Manley Hopkins ont largement contribué à la spécificité de son style original. Ils sont ici répertoriés dans un corpus exhaustif, classés par catégories et types et commentés sous divers aspects (lexicogénétiques, syntaxiques et thématiques) pour en faire ressortir leurs fonctions stylistique et littéraire. Ils n'illustrent pas un nœud thématique en particulier, mais sont à l'origine d'une multiplicité d'effets qui tendent à resserrer le langage poétique dans un filet formel, et d'enjeux sémantiques qui dévoilent une imagination littéraire unique
Gerard Manley Hopkins's poetic compounds and hyphenations stand out as significant features of his original style. In this dissertation, they are collected in a comprehensive corpus, sorted by categories and types and commented upon from different angles (lexicogenetic, syntactic and notional) in an attempt to bring out their stylistic and literary function. They do not illustrate a single theme but they represent word cruces that, on the one hand, raise poetic language to the level of verbal artefact and, on the other, unveil a unique literary imagination
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2

Lecomte, Jean-Marie Chardin Jean-Jacques Riley Philip. „Les composés poétiques dans l'écriture de Gérard Manley Hopkins (Poèmes 1876-1889)“. Nancy : Université Nancy 2, 2001. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc229/2001NAN21014_1.pdf.

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3

Junior, Carlos Rogerio Lima. „Um artista às margens do Ipiranga: Oscar Pereira da Silva, o Museu Paulista e a reelaboração do passado nacional“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/31/31131/tde-12052015-103046/.

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Esta dissertação tem por tema a atuação do artista Oscar Pereira da Silva (1867 - 1939) enquanto pintor história no Museu Paulista, entre os anos de 1920 e 1922, durante a gestão de Afonso d\' Escragnolle Taunay (1876 - 1958). Quando do preparo do Museu Paulista, visando às celebrações do Centenário da Independência, em setembro de 1922, o artista foi, entre muitos outros, confiado por Taunay a realizar as pinturas cujo conteúdo remetiam a cenas do passado nacional, e do paulista, em particular. Busca-se compreender os meandros que possibilitaram o recrutamento de tal artista para a nova decoração empreendida dentro do Museu, a partir de sua atuação no meio artístico paulistano, - e as implicações de sua transferência do Rio de Janeiro, em fins do século XIX, - e o quanto das pinturas selecionadas para este estudo estavam inseridas em um debate maior que buscava destacar a importância de São Paulo na história do Brasil.
This dissertation has the theme of the performance artist Oscar Pereira da Silva (1867 - 1939) as history painter in the Paulista Museum, between the years 1920 and 1922 , during Afonso d\' Escragnolle Taunay ( 1876-1958 ) management. When the preparation of the Museum, targeting the Independence Centenary celebrations, in September 1922 , the artist was, among many others, entrusted by Taunay to perform paintings whose content remitted the scenes of the national past, and São Paulo, particularlly. We seek to understand the intricacies that allowed the recruitment of such artist for the new decor undertaken within the Museum, from its operations in São Paulo art world, - and the implications of his move from Rio de Janeiro, in the late nineteenth century, - and how those paintings, selected for this study, were included in a larger debate that sought to highlight the importance of São Paulo in Brazil\'s history .
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Ciminari, Sabina. „Lettere all'editore : ritratti di scrittrici“. Paris 10, 2006. http://www.theses.fr/2006PA100016.

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À partir de l'analyse de la correspondance inédite entre auteur et éditeur, on a tracé le profil de trois femmes écrivains - Sibilla Aleramo, Gianna Manzini, Alba de Céspedes - qui ont été protagonistes de la société littéraire de Rome au Vingtième siècle. L'examen du rapport avec leur éditeur, Arnoldo Mondadori, a été tracé à côté de l'histoire de leurs textes et à l'analyse de la présentation éditoriale qu'ils ont eu et qui fournit des éléments utiles pour reconstruire des moments de l'histoire de l'édition littéraire italienne, saisie dans les transformations qu'elle a eu au cours de cinquante ans (à partir des années Vingt jusqu'aux années Soixantes-dix). Le profil intellectuel et biographique de ces femmes écrivains a été enrichi, en outre, par l'analyse de la correspondance avec leurs traducteurs et éditeurs français, et avec des écrivains et intellectuels français, dans le cadre général de leur diffusion en France et de leurs relations avec la culture littéraire française
Starting from the analysis of unedited correspondence between writer and editor, the profile of three authors has been reformed - Sibilla Aleramo, Gianna Manzini, Alba de Céspedes - who have been protagonists of the Roman literary society of the twentieth century. The examination of the relationship with their editor, Arnoldo Mondadori, was placed aide by aide with the story of their text and with the analysis of the editorial presentation which took place. This analysis provides us with useful elements in reconstructing moments, of the history of publishing literature, which were mainly derived from the transformation it underwent over a fifty year period (from the 20's to 70's). Moreover, the intellectuel and biographical profile of these authors has been enriched by the analysis of the correspondence with their French translator and editors, within the scene of their circulation in France and their relationship with French intellectuels, and on the whole with the French literary culture
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5

Mayaffre, Damon. „Le discours politique dans les années 1930 : analyse du vocabulaire de Maurice Thorez, Léon Blum, Pierre-Etienne Flandin et André Tardieu (1928-1939)“. Nice, 1998. http://www.theses.fr/1998NICE2014.

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Cette thèse d'histoire étudie le discours et le vocabulaire politiques français dans l'entre-deux-guerres (1928-1939), car ceux-ci paraissent des acteurs pertinents de la crise que connaissent la France et la république dans les années 30, qui aboutit à la défaite et à Vichy. La guerre civile verbale est étudiée d'abord à grands traits grâce à une comparaison gauche / droite, puis plus finement par l'étude du discours communiste (Maurice Thorez), socialiste (Léon Blum), orléaniste (Pierre-Etienne Flandin) et bonapartiste (André Tardieu). La méthode d'analyse utilisée est la lexicométrie dont le principe épistémologique est clair : ne rien avancer qui ne soit démontré ou suscité par le constat chiffre de la sur-utilisation ou de la sous-utilisation d'un terme, à une époque déterminée, par un locuteur donné. Grâce à une série d'outils linguistiques, statistiques, informatiques, -notamment des analyses factorielles des correspondances- il a été possible de déterminer, par une étude synchronique des discours, l'identité lexicale, discursive, idéologique de quatre familles politiques françaises; puis, par une étude diachronique, de montrer comment le débat politique, le consensus républicain éclatent au fil des années, en isolant les pratiques lexicales de Thorez, Blum, Flandin et Tardieu, pour rendre inexpugnable une logomachie funeste au pays
The present doctoral thesis proposes to study the French political vocabulary and speech during the interwar period (1928-1939), for indeed those seem to have played a part significant enough in the crisis France and the republic went through in the 1930s and which led to the defeat and Vichy. The verbal civil war is first studied roughly though a left/right comparison and then more subtly throught the study of communist (Maurice Thorez), socialist (Leon bloom), orleanist (Pierre-Etienne Flandin) and bonapartist (André Tardieu) speeches. The method of analysis here used is lexicometry whose epistemological principle is clear : never put forward what is not proved or incited by the figured recording of the over- or underuse of a term by a given speaker at a determined time. Thanks to a whole range of linguistic, statistical and computer tools -particulary correspondence analysis- it has been possible to determine, by the means of a synchronic investigation of the differents speeches, the lexical, discursive and ideological identity of four French political persuasions. Then with a diachronic investigation and by isolating the lexical practices of Thorez, Blum, Flandin and Tardieu, we have been able to demonstrate how the political debate and the republican consensus ruptured with the passing years to make impregnable and overweening verbosity so baneful for the country
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Joubé, Poreau Martine. „Biographie d'un artiste dramatique oublié : romuald Joubé (1876-1949)“. Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1005.

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Ce projet a vu le jour afin de tirer de l'oubli un artiste dramatique nommé Romuald Joubé, né en 1876 et décédé en 1949. Cet homme était mon ancêtre, c'est l'oubli familial et collectif dont il a été victime qui a suscité la réalisation de ce travail. Il a eu la particularité de devenir un acteur reconnu au théâtre et au cinéma muet, en traversant deux guerres mondiales. Cette biographie s'attache à faire découvrir l'évolution du jeune comédien et celle du milieu théâtral et cinématographique de la première moitié du XXe siècle. Son parcours le mène de Saint-Gaudens à Paris, de l'Odéon à la Comédie-Française, des tournées européennes aux tournées internationales où il côtoie les grands noms du théâtre et du cinéma tels qu'André Antoine, Sarah Bernhardt, Abel Gance. Devenu une vedette il ne renie jamais sa région pyrénéenne où il crée un théâtre de verdure et défend ardemment le théâtre de plein air jusqu'à la fin de sa vie. Son éclectisme lui permet d'interpréter différents répertoires. Aussi remet-il en cause certaines idées reçues sur l'histoire du monde théâtral, par exemple le clivage entre Théâtre commercial et Théâtre littéraire. Acteur du cinéma muet, il est aussi intéressé par la radiophonie en 1936 et plus tard il fera une expérience au cinéma parlant avec Sacha Guitry. Homme entre tradition et modernité, Joubé révèle les ambiguïtés du monde artistique en temps de guerre. Cet homme aux multiples dons, à la fois acteur, dessinateur, peintre, spécialiste de la langue gasconne, se battra jusqu'à sa mort pour défendre l'art de qualité pour tous, sans jamais oublier sa famille et ses racines
This project has been conceived to get out of oblivion Romuald Joubé (1876-1949). He was a professional dramatic artist and an ancestor of mine. Because of this familial and collective forgetting of the great works of Joubé, the main goal of this thesis is to reveal his biography. He became a famous and talented theatre and silent movie actor by crossing two world wars.This biography presents the evolution of Joubé as a young stage actor as well as the evolution of theatre and cinema during the first part of the twentieth century. From Saint-Gaudens (France) to Paris, and from Odéon to the Comédie-Française, Joubé met some of the great actors such as André Antoine, Sarah Bernhardt or Abel Gance. Even if he became famous at Paris, he did not forget his native region: Southwest of France and the Pyrénées. He created an open-air theater in this region. Until the end of his life, he promoted the open-air theatre. Joubé could play many different roles. He was also a silent film actor. Then in 1936, he got interested in radio. He accepted then sound films with Sacha Guitry. Tradition and modernity characterize this major and forgotten actor of the twentieth century. The biography of Joubé also brings us into the lives of artists of this period. Finally, Joubé, as an actor but also as a painter, a draughtsman and a defender of Gascon language. He will fight up to his dead to defend the quality art for all, without over forgetting his family and his region
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Bücher zum Thema "1876-1889"

1

Leslie, Vernon. Things forgotten: Wayne County, 1876-1889. Honesdale, Pa: Wayne County Historical Society, 1990.

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2

Makashin, S. A. Saltykov-Shchedrin: Poslednie gody, 1876-1889 : biografii͡a︡. Moskva: "Khudozh. lit-ra", 1989.

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3

Makashin, S. A. Saltykov-Shchedrin: Poslednie gody, 1876-1889 : biografiya. Moskva: "Khudozh. lit-ra", 1989.

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4

Berggren, Lars. Giordano Bruno på Campo dei fiori: Ett monumentprojekt i Rom 1876-1889. [Lund, Sweden]: Artifex, 1991.

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Lundgreen, Peter. Wissenschaftliche Forschung als Ausweg im politischen Konflikt?: Qualitätskontrolle von Eisenbahnmaterial in Preussen (1876-1889). Wiesbaden: DUV, 1999.

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Harrison, Oliver. "The paradise of the southern hemisphere": German and Austrian vistors to New Zealand, 1876-1889. [Auckland, N.Z.]: Research Centre for Germanic Connections with New Zealand and the Pacific, University of Auckland, 2008.

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Harrison, Oliver. "The paradise of the southern hemisphere": German and Austrian vistors to New Zealand, 1876-1889. [Auckland, N.Z.]: Research Centre for Germanic Connections with New Zealand and the Pacific, University of Auckland, 2008.

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Simpson, Adrienne. The greatest ornaments of their profession: The New Zealand tours by the Simonsen Opera Companies, 1876-1889. Christchurch, N.Z: School of Music, University of Canterbury, 1993.

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Freeberg, Ernest. The education of Laura Bridgman: First deaf and blind person to learn language. Cambridge, Mass: Harvard University Press, 2001.

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Deprez, Ada. Jaarboekje van het Conscience's Taalgenootschap, 1874-1876: De Vlaamsche lezer, 1881-1883 : Nieuw Nederlandsch tijdschrift, 1881-1883 : De Ontwaking, 1883-1884 : Flandria, 1885-1890 : Weekblad conscience, 1889-1890 : De Banier, 1893-1905. Gent: Cultureel Documentatiecentrum, 1999.

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Buchteile zum Thema "1876-1889"

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Pinto, Teresa. „Rewriting Portuguese Women’s History at International Expositions (1889–1908)“. In Women in International and Universal Exhibitions, 1876–1937, 105–26. New York : Routledge, 2018. | Series: Routledge research in gender and history ; 28: Routledge, 2017. http://dx.doi.org/10.4324/9781315196534-6.

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Knight, Frances. „Laying the Foundations 1876–1889“. In Ebenezer Howard, 33–59. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198790815.003.0003.

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Abstract The chapter explores Howard’s return to London, years in which he began work as a parliamentary stenographer, married his wife Lizzie, had a family and began his experiments with typewriter modifications. It discusses his deepening interest in Spiritualism, which he first encountered through the influence of Cora Richmond, and how this eventually brought him back from the Freethought positions that had influenced him in America, to a version of Christianity. The final section discusses the impact on Howard of various intellectual and religious influences, including the social gospel, older traditions of radical dissent, science fiction, and his membership of Rectory Road Congregational Church in Stoke Newington.
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Beer, Gillian. „Helmholtz, Tyndall, Gerard Manley Hopkins: Leaps of the Prepared Imagination“. In Open Fields: Science in Cultural Encounter, 242–72. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198183693.003.0012.

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Abstract Gerard Manley Hopkins was pre-eminently a religious writer, of that no doubt. The vicissitudes of his calling and his sufferings have preoccupied many who respond to his life-story. Between 1868, the year of his entry into the Jesuit novitiate at the age of 24, and 1876, the year of ̒The Wreck of the Deutschland̓, he wrote no poetry. His major output dates from 1876 to 1889, when he died. His poetry expresses the energies of the material world funnelled and focused to break through to a world beyond, or a world within.
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Смольянинова, Марина Геннадиевна. „Летописец революционно-освободительной борьбы болгар против турок Захари Стоянов“. In Материалы для виртуального Музея Славянских Культур. Выпуск 1, 242–47. Институт славяноведения РАН, 2020. http://dx.doi.org/10.31168/0436-7.40.

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В статье речь ведется о болгарском революционере, писателе и публицисте Захари Стоянове (1850–1889), вошедшем в историю национальной литературы как создатель монументального многотомного труда «Записки о болгарских восстаниях». Участник и очевидец многих революционных событий, он пытался документально восстановить подготовку, ход и разгром Старозагорского (1875) и Апрельского (1876) восстаний болгар против турок. Не надеясь только на собственную память, писатель колесил по стране, опрашивая непосредственных участников этих событий, записывал их рассказы и собирал соответствующие документальные свидетельства. В итоге у болгар появился труд, который приобрел в Болгарии статус своеобразной национальной Библии.
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Timofeev, Mihail. „Čto delaet naši landšafty takimi raznymi, takimi privlekatelʹnymi? (Anglijskij industrialʹnyj pejzaž XVIII-XX vekov)“. In Tożsamość (w) przestrzeni: Studia dedykowane Profesorowi Wasilijowi Szczukinowi, 355–66. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387316.26.

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The article is devoted to the formation of an industrial narrative in English Fine Arts of the 18th-20th centuries. They emerged as a result of the industrial revolution in the North East of England. The author describes examples of the representation of rural and urban industrial landscapes. The article examines the role of Fine Arts in the formation of local and nationality identity. The works of such English artists as Joseph Wright of Derby (1734-1797), William Wyld (1806-1889), Pierre Adolphe Valette (1876-1942), Lawrence Stephen Lowry (1887-1976) were used as examples of industrial landscapes.
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Watanabe-O'Kelly, Helen. „Adopting the Imperial Idea Beyond Europe“. In Projecting Imperial Power, 40–67. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0003.

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During the Napoleonic period, ‘the imperial idea’ spread to colonial territories far from Europe. This chapter discusses how Brazil became an empire when Pedro I declared independence from Portugal and how Mexico declared independence from Spain under Agustín de Iturbide. Pedro II succeeded his father as emperor of Brazil but abdicated in 1889. Agustín I was executed in 1824, as was the second emperor of Mexico, Maximilian of Austria, in 1867. These emperors also had to create symbolic power with courts, costumes, ceremonial, and coronations on the Napoleonic model, Queen Victoria was given the title of empress in 1876 and the British invented a ceremony of acclamation in 1877 which they called a ‘durbar’.
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Steinberg, Michael. „Tchaikovsky“. In The Concerto, 473–92. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0041.

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Abstract Piotr Ilyich Tchaikovsky was born on 7 May 1840 at Votkinsk in the district of Viatka, Russia (now in the Udmurt Republic), some 700 miles east-northeast of Moscow, and died in Saint Petersburg on 6 November 1893. Tchaikovsky composed his Piano Concerto No. 1 in November and December 1874, completing the orchestration on 21 February 1875. He made some revisions in 1876 and 1889. Hans van Bulow gave the first performance at the Music Hall in Boston on 25 October 1875, B. J. Lang conducting. The orchestra was a freelance group, though largely carresponding to that of the Harvard Musical Association. The Boston Symphony Orchestra was founded six years later, and at various concerts in 1883 and 1885, B. J. Lang, the conductor of the premiere, was the first pianist to play the concerto with the new orchestra.
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Pearson, E. S., R. L. Plackett und G. A. Barnard. „William Sealy Gosset“. In ‘Student’, 15–22. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198522270.003.0003.

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Abstract The Gossets were an old Huguenot family who left France at the Revocation of the Edict of Nantes in 1685, and became middle class with army and clerical traditions. Among them was Frederic Gosset, a Colonel in the Royal Engineers, who in 18 75 married Agnes Sealy Vidal. There were five children, the eldest being William Sealy Gosset, born on 13 June 1876 in Canterbury. He was bright enough to win scholarships, which must have provided welcome additions to the funding of his education, since the family had to live frugally. Gosset was a Scholar of Winchester College from 1889 to 1895. The school had been founded in 1382 by William of Wykeham, and towards the end of the nineteenth century was with other public schools beginning to go through an intellectual renaissance. Unable to follow his father into the Royal Engineers because of poor eyesight, Gosset took up a scholarship at New College, Oxford, another Wykehamite foundation. Here he obtained a First in Mathematical Moderations in 1897 and left in 1899 with a First Class degree in Chemistry.
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Balachandran Orihuela, Sharada. „Queen Cotton“. In Fugitives, Smugglers, and Thieves, 136–67. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640921.003.0006.

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This chapter studies the language of President Lincoln’s naval blockade of Southern ports on April 19, 1861, which frames the South as a “rebellious state” and severely limits the lawful commercial activities that are allowed to take place in Southern coastal waters. This event catalyzes a long series of debates around diplomatic recognition, as well as revitalizes debates about property, sovereignty, and piracy. These debates taking place on an international stage, however, are expressions of anxieties regarding property and recognition (read: the recognition of the individual body as citizen) taking place in the South. This chapter reads Eliza McHatton Ripley’s From Flag to Flag: A Woman’s Adventures and Experiences in the South During the War, in Mexico, and in Cuba (1889) and Loreta Janeta Velazquez’s The Woman in Battle: A Narrative of the Exploits, Adventures, and Travels of Madame Loreta Janeta Velazquez (1876) alongside contemporaneous memoires that describe commercial during the blockade, to illustrate the pervasive anxieties regarding recognition and commercial life at this historical moment. In this case, the Confederacy’s lack of access to property, its isolation from international markets, and its deprivation of diplomatic recognition, is a reflection of the experiences of dispossession and lack of recognition endured at a personal scale by Southerners at this time period.
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Fleming, James R. „The Climatic Determinism of Ellsworth Huntington“. In Historical Perspectives on Climate Change. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195078701.003.0013.

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The climate work of the unrestrained and undisciplined geographic determinist, eugenicist, and popular writer Ellsworth Huntington (1876–1947) can be categorized into three large themes: the influence of weather and weather changes on workers and students, the influence of climate on world civilizations, and the influence of solar variations on climate change. The first represented a sort of meteorological Taylorism, the second a reprise of enlightenment determinism, and the third a simplistic and wholly unrealistic pseudoscientific theory. Why, then, should we bother with him? One answer was provided by the historian Arnold Toynbee, who was “enormously influenced” by Huntington’s ideas about the relation between human beings and their physical environments. It was Toynbee’s opinion that “[s]tudents of human affairs may agree or disagree with Huntington, but in either case they will be influenced by him, so it is better that they should be aware of him.” Although Huntington’s thought was indeed influential in its time, since then his racial bias and crude determinisms have been largely rejected. Nonetheless, his categorical errors seem destined to be repeated by those who make overly dramatic claims for weather and climatic influences. Ellsworth Huntington was born in Galesburg, Illinois, on September 16, 1876, the third child and eldest son of Henry Strong Huntington, a Congregationalist minister, and Mary Lawrence Herbert. The Huntingtons were proud of their Puritan ancestry, which they traced to 1633. Following the call of the ministry, the family moved to Gorham, Maine, in 1877 and then in 1889 to Milton, Massachusetts, a wealthy suburb of Boston. Ellsworth attended the public high school, where he excelled in athletics and academics. His biographers have called him reclusive, but his brother suggested that perhaps he was humble rather than shy. Huntington passed the Harvard entrance examinations, but family finances precluded his enrollment there. Instead, he attended Beloit College, where he boarded with a maternal aunt, from 1893 to 1897. Following in the footsteps of T. C. Chamberlin (Beloit 1866), Huntington studied both classics and geology, publishing his first article, on local road-making materials, in the Transactions of the Wisconsin Academy of Sciences.
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Konferenzberichte zum Thema "1876-1889"

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Fernandes, Bárbara Ferreira. „Juramento da princesa Isabel: uma análise do quadro de Victor Meirelles“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4287.

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Este artigo possui como objeto de estudo o quadro “Juramento da Princesa Isabel” (Figura 01), obra do importante pintor do século XIX, Victor Meirelles. A obra é um óleo sobre tela datada de 1875, com 1,770 x 2,600m de dimensão, pertencente, hoje, ao Museu Imperial de Petrópolis (MIP). O quadro faz parte do circuito permanente do Museu e encontra-se na sala denominada “Princesa Isabel”. Isabel foi regente do Brasil durante três períodos: 1871-1872, 1876-1877 e 1887-1889. A obra retrata o juramento feito na ocasião de sua primeira regência, em 20 de maio de 1871, e foi encomendada pelo então presidente do Senado, Visconde de Abaeté. Na sala de Sessões do Senado, ao centro da tela, diante de uma mesa posta na frente de um trono vazio à esquerda, está a Princesa Isabel ajoelhada. O historiador Robert Daibert Jr. aponta que a tela de Meirelles “buscava engrandecer o momento e construir a trajetória da princesa rumo ao trono. Esse importante momento precisava ser imortalizado”. Pode-se afirmar que o quadro “Juramento da Princesa Isabel” insere-se no projeto gestado pelo Estado de criar símbolos e trabalhar com o imaginário nacional através da pintura histórica.
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