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Fokin, Alexander Anatolyevich. „Philosophical Principles of Heinrich Klee’s Theology (1800–1840)“. Philosophy of Religion: Analytic Researches 6, Nr. 1 (2022): 24–36. http://dx.doi.org/10.21146/2587-683x-2022-6-1-24-36.
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The article focuses on the study of the dogmatic works of Heinrich Klee (1800–1840) in relation to his criticism and reception of contemporary philosophical systems. The dogmatic theology of Heinrich Klee is a little-studied page in the history of Catholic religious thought in the first half of the 19th century, yet for his contemporaries Klee was a significant thinker, and his theology was the subject of active discussion. The works of Klee are known to have been criticized more than once in connection with the possible borrowing of philosophical ideas in his dogmatic theology. This criticism, however, was taken for granted, without being corroborated by any specific study of his texts – a fault the present article seeks to amend. The article attempts to fit the theology of Heinrich Klee into a philosophical context and analyze the philosophical principles in his theology. In the conclusions of the article, we highlight the tendencies and features of the use of philosophical concepts characteristic for Klee and emphasize the breadth and variety of philosophical trends he was debating. The article uses specific examples to demonstrate that, while openly criticizing such сelebrities as Hegel, Fichte, Schelling, Schleiermacher, Klee not only embraced their philosophical language but also borrowed their foundational ideas. In the article, it was demonstrated with specific examples that, openly criticizing such authors as Hegel, Fichte, Schelling, Schleiermacher, he perceives not only the philosophical language of these authors, but also borrows their system-forming ideas. At the same time, his theological thought moved within the strict framework of the Catholic concept of the objectivity of divine Revelation and the authority of the Church. The article sheds light not only on some of the philosophical and theological positions of a particular theologian of the early 19th century, but also on the discussion about the degree of philosophical foundation of theological constructions in the modern era as a whole.
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Abdul Malik, Mohd Puaad, Faisal @. Ahmad Faisal Abdul Hamid und Rahimin Affandi Abdul Rahim. „Analyse Malay Fiqh Works Writing 1600-1800“. Al-Muqaddimah: Online journal of Islamic History and Civilization 6, Nr. 2 (31.12.2018): 71–89. http://dx.doi.org/10.22452/muqaddimah.vol6no2.6.
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In essence, this article will focus on the subject classical Malay fiqh works 1600-1800. Classical Malay fiqh works are Malay intellectual works produced by Malay Muslim scholars in various topics of Islamic law including worship (ibadah), commercial transaction law (muamalah), family law (munakahat) and others. This fiqh Malay work played an important role in Malay society at the beginning of Islamic development in the Malay world. It is a means of communication, scientific knowledge or developmental science. The premise of this article analyzes the writing of fiqh works that developed in the early days of the great intellectual nature of the Malay world. There are features of fiqh writing in the year 1600 and it is different from the features of fiqh writing in 1700 and 1800. The discussion of this writing includes the difference between the writing text and the style of writing fiqh and being reviewed from various scopes, items and writing features. The method of analysis used is the method of historiography or historicalism which examines the development of an idea. Facts obtained will be thoroughly screened using the Malay induction history approach. Research shows that the earliest classic Malay fiqh writing has its own identity and superiority and is a Malay intellectual work.
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Shcherbakova, Anna E. „TO CHILDREN ABOUT ART: DOMESTIC ILLUSTRATED EDITIONS OF THE 1800–1820S“. Arts education and science 1, Nr. 38 (2024): 140–52. http://dx.doi.org/10.36871/hon.202401140.
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This article is devoted to the visual language of children’s books and magazines of the first third of the XIXth century on the theme of art. The cultural and historical context of the development of illustrated literature on this topic is considered. The most popular plots and the artistic features of the published images are identified. A comparison is made of illustrations in Russian-language versions of books and foreign originals. The relationship between the publication format and graphic content is determined, as well as the options for interaction between text and picture. The most striking examples of domestic early printed books reflecting the trends of the era under consideration were selected for this work. These are children’s encyclopedias, alphabet books, biographical and game editions. The result of the research is the reconstruction of the situation of illustrating children’s art literature in Russia in the 1800– 1820s. It has been established that children’s book publishing of this period hardly sought to talk about art as such. It often appeared in the content of publications with other goals. Nevertheless, the authors of the books managed to cover certain aspects of art. These include types of art, artistic images, famous artists, as well as technical features of creating works of art.
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Špelda, Daniel. „Kepler in the Early Historiography of Astronomy (1615–1800)“. Journal for the History of Astronomy 48, Nr. 4 (November 2017): 381–404. http://dx.doi.org/10.1177/0021828617740948.
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This article discusses the reception of Kepler’s work in the earliest interpretations of the history of astronomy, which appeared in the seventeenth and eighteenth centuries. The focus is not on the reception of Kepler’s work among astronomers themselves but instead on its significance for the history of science as seen by early historians of mathematics and astronomy. The first section discusses the evaluation of Kepler in the so-called “Prefatory Histories” of astronomy that appeared in various astronomical works during the seventeenth century. In these, Kepler was considered mainly to be the person who brought the work of Tycho Brahe to completion, rather than an original astronomer. The second section is devoted to the evaluation of Kepler in interpretations of the history of astronomy that appeared in the eighteenth century (often as part of the history of mathematics). In these works, Kepler is regarded as a genius who deserves tremendous credit for the advancement of the human spirit. Both sections also devote attention to Copernicus and Tycho Brahe because this facilitates the explanation of how Kepler’s contribution was judged. By studying the reception of Johannes Kepler’s work, we may gain greater insight into the transition from a cyclical perception of the history of science to the progressive model.
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Ståhle Sjönell, Barbro. „Det tidiga 1800-talets svenska novellistik“. Tidskrift för litteraturvetenskap 43, Nr. 2 (01.01.2013): 5–17. http://dx.doi.org/10.54797/tfl.v43i2.10840.
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Swedish Short Stories in the Early 19th Century. Publication and Subgenres
The present study of Swedish short stories published between the years 1810 and 1829 illustrates that authors representing the Romantic Movement made special efforts to put the short story on the market. At V. F. Palmblad’s publishing house, German contemporary short stories were translated and distributed, later followed by Swedish contributions to the genre, which appeared primarily in literary magazines. Only a small number of short stories were published over the course of these 19 years, and the means of publication varied. Out of 45 works found in the catalogues of the National Library of Sweden, 27 are published separately, while 14 are published in periodicals or newspapers and two in anthologies (one of which is a frame story and the other a modern collection). Authors connected to the Romantic school introduced two new varieties of short story: the exotic story and the fantastic story. The pre-existing subgenres included, for instance: adventures, satirical or comic stories, stories of family life, travel stories and historical short stories. Among these, the historical story was the only subgenre to be printed separately. Characteristic for the short story is its ability to be inserted into many different kinds of publications. Another result of the study is the discovery of the ease with which a short story may be transferred from one form of publication to another. For instance, the short story may originate as part of a novel, only to turn into a separate work in its own right. Alternatively, it may develop as a serial story in a newspaper and go on to be printed separately, and later appear in a publishing house series or in a volume of selected works. This adaptive, or transferable, quality should be included in the ongoing discussion pertaining to the definition of the short story.
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Bowers, Katherine. „Ghost Writers: Radcliffiana and the Russian Gothic Wave“. Victorian Popular Fictions Journal 3, Nr. 2 (17.12.2021): 152–71. http://dx.doi.org/10.46911/tvct9530.
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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.
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SAMPSON, MARGARET. „‘THE WOE THAT WAS IN MARRIAGE’: SOME RECENT WORKS ON THE HISTORY OF WOMEN, MARRIAGE AND THE FAMILY IN EARLY MODERN ENGLAND AND EUROPE“. Historical Journal 40, Nr. 3 (September 1997): 811–23. http://dx.doi.org/10.1017/s0018246x97007437.
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Marriage and the English Reformation. By Eric Josef Carlson. Oxford: Blackwell, 1994. Pp. ix+276. ISBN 0-631-16864-8. £45.00Gender, sex and subordination in England, 1550–1800. By Anthony Fletcher. New Haven and London: Yale University Press, 1995. Pp. xxii+442. ISBN 0-300-06531-0. £19.95.Domestic dangers: women, words, and sex in early modern London. By Laura Gowing. Oxford: Clarendon Press, 1996. Pp. 301. ISBN 0-19-820517-1. £35.00.The prospect before her: a history of women in western Europe, Volume one, 1500–1800. By Olwen Hufton. London: HarperCollins, 1995. Pp. xiv+654. ISBN 0-00255120-9. £25.00.Sex and subjection: attitudes to women in early modern society. By Margaret R. Sommerville. London: Edward Arnold, 1995. Pp. 287. ISBN 0-340-64574-1. £14.99.
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Oostindie, Gert, und Jessica Vance Roitman. „Repositioning the Dutch in the Atlantic, 1680–1800“. Itinerario 36, Nr. 2 (August 2012): 129–60. http://dx.doi.org/10.1017/s0165115312000605.
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After some decades of historical debate about the early modern Atlantic, it has become a truism that the Atlantic may better be understood as a world of connections rather than as a collection of isolated national sub-empires. Likewise, it is commonly accepted that the study of this interconnected Atlantic world should be interdisciplinary, going beyond traditional economic and political history to include the study of the circulation of people and cultures. This view was espoused and expanded upon in the issue of Itinerario on the nature of Atlantic history published thirteen years ago—the same issue in which Pieter Emmer and Wim Klooster famously asserted that there was no Dutch Atlantic empire. Since this controversial article appeared, there has been a resurgence of interest among scholars about the role of the Dutch in the Atlantic. With Atlantic history continuing to occupy a prominent place in Anglo-American university history departments, it seems high time to appraise the output of this resurgence of interest with an historiographical essay reviewing the major works and trends in the study of the Dutch in the Atlantic.
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King, Martina. „Gesteinsschichten, Tasthaare, Damenmoden: Epistemologie des Vergleichens zwischen Natur und Kultur – um und nach 1800“. Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, Nr. 2 (09.11.2020): 246–66. http://dx.doi.org/10.1515/iasl-2020-0014.
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AbstractThis paper investigates comparison as a fundamental practice within the early life sciences. Four episodes are selected that show how comparing species works in the early 19th century and how it builds bridges between scientific and literary culture: comparing living organisms in pre-Darwinian natural history (Lacépède, Treviranus), comparing species distribution in actualistic geology (Lyell), comparing organs in comparative anatomy (Müller), and – last but not least – comparing social classes in new literary genres such as sketch, ‘Paris physiology’, or travel feuilleton.
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Vogler, Nikolai, Kartik Goyal, Kishore PV Reddy, Elizaveta Pertseva, Samuel V. Lemley, Christopher N. Warren, Max G'Sell und Taylor Berg-Kirkpatrick. „Contrastive Attention Networks for Attribution of Early Modern Print“. Proceedings of the AAAI Conference on Artificial Intelligence 37, Nr. 4 (26.06.2023): 5285–93. http://dx.doi.org/10.1609/aaai.v37i4.25659.
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In this paper, we develop machine learning techniques to identify unknown printers in early modern (c.~1500--1800) English printed books. Specifically, we focus on matching uniquely damaged character type-imprints in anonymously printed books to works with known printers in order to provide evidence of their origins. Until now, this work has been limited to manual investigations by analytical bibliographers. We present a Contrastive Attention-based Metric Learning approach to identify similar damage across character image pairs, which is sensitive to very subtle differences in glyph shapes, yet robust to various confounding sources of noise associated with digitized historical books. To overcome the scarce amount of supervised data, we design a random data synthesis procedure that aims to simulate bends, fractures, and inking variations induced by the early printing process. Our method successfully improves downstream damaged type-imprint matching among printed works from this period, as validated by in-domain human experts. The results of our approach on two important philosophical works from the Early Modern period demonstrate potential to extend the extant historical research about the origins and content of these books.
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Guskov, Nikolai. „A Chevalier Of A Sentimemtal Epoch: The Biography Of A Little Aristocrat“. Children's Readings: Studies in Children's Literature 20, Nr. 2 (2021): 201–29. http://dx.doi.org/10.31860/2304-5817-2021-2-20-201-229.
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The article presents the forgotten book “The Model of Children, or the Life of the Little Count Platon Zubov” (1801), written in French by A. S. Vsevolozhskaya and translated into Russian by S. Sokovnin. The son of General Valerian Zubov (a favorite of Catherine II) died in 1800 at the age of 4 and a half years and is presented in the book as an ideal child. The text is examined in the context of literature about children of the 18th — early 19th centuries. We can see here the influence of A.-F.-J. Freville’s “Life of the famouses children”. Compared with most of the texts, “Model of Children”, although it contains canonical features of hagiographic and didactic works, demonstrates an attempt to introduce elements of psychologism and reality, to capture a specific image of a little aristocrat of his time. It combines elements of a sensitive nature as a result of female upbringing and the traits inherited from little count’s father as a courtesan with class prejudices. This image anticipates the characters of Nokolai Karamzin’s later prose.
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Guskov, Nikolai. „A Chevalier Of A Sentimemtal Epoch: The Biography Of A Little Aristocrat“. Children's Readings: Studies in Children's Literature 20, Nr. 2 (2021): 201–29. http://dx.doi.org/10.31860/2304-5817-2021-2-20-201-229.
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The article presents the forgotten book “The Model of Children, or the Life of the Little Count Platon Zubov” (1801), written in French by A. S. Vsevolozhskaya and translated into Russian by S. Sokovnin. The son of General Valerian Zubov (a favorite of Catherine II) died in 1800 at the age of 4 and a half years and is presented in the book as an ideal child. The text is examined in the context of literature about children of the 18th — early 19th centuries. We can see here the influence of A.-F.-J. Freville’s “Life of the famouses children”. Compared with most of the texts, “Model of Children”, although it contains canonical features of hagiographic and didactic works, demonstrates an attempt to introduce elements of psychologism and reality, to capture a specific image of a little aristocrat of his time. It combines elements of a sensitive nature as a result of female upbringing and the traits inherited from little count’s father as a courtesan with class prejudices. This image anticipates the characters of Nokolai Karamzin’s later prose.
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Liljas, Juvas Marianne. „”Från pappas lydige Henric”: Pedagogiska perspektiv på det tidiga 1800-talets bildningsresande“. Nordic Journal of Educational History 6, Nr. 2 (13.12.2019): 73–99. http://dx.doi.org/10.36368/njedh.v6i2.151.
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“From daddy’s obedient Henric”: Pedagogical perspectives on educational travel of the early 1800s. This article analyses educational travel in the early 1800s from the perspective of its educational heritage and praxis. The aim is to develop an understanding of the pedagogical significance of educational travel. The article makes clear how upbringing and education are represented in the framework of travel narratives in pre-industrial landscapes. The argument is based on the influence of the mercantile class on educational travel and the informal effect of these trips on changes in pedagogical thinking. The travel letters of Johan Henrik Munktell from 1828 to 1830 are used as primary sources. Using Paul Ricoeur’s memory-critical hermeneutics, travel narratives become significant sources for how education is arranged, and immanent pedagogy is a key term. The results demonstrate that the individualisation process works together with forms of crypto-learning, the core of the personal development vision, and society’s long-term memory.
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Shumakov, Andrey. „Gabriel's Failed Revolution of 1800: Causes and Prerequisites“. Izvestia of Smolensk State University, Nr. 1(61) (15.12.2023): 186–203. http://dx.doi.org/10.35785/2072-9464-2023-61-1-186-203.
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This work is devoted to a very little-studied topic of the Virginia Slave Conspiracy led by Gabriel and is the first study of this issue in Russian historiography. The present article analyzes in detail the causes and prerequisites of the failed uprising of 1800. At the same time, the author relies on the published materials of the trial and the works of leading Western researchers.
The first part is devoted directly to the history of studying this issue. Using historical-genetic and retrospective methods, the author traces the influence of foreign policy, domestic political, social, economic, demographic, socio-cultural factors on the formation of a socially explosive situation in Virginia by 1800, and
also identifies a number of subjective reasons and prerequisites for a slave conspiracy, such as: motives of personal revenge and banal miscalculations of the authorities who did not take proper measures. At the same time, the main emphasis is on comparing approaches and substantiating the complex of causes and
prerequisites in Western historiography.
As a result, the author comes to the conclusion that in the case of Gabriel's conspiracy, it is not just about a failed uprising, but about the emergence in Virginia of the late XVIII – early XIX centuries of a real revolutionary situation, the formation of which was facilitated by a combination of interrelated factors.
The results of the research conducted in this article can be used in research and teaching activities related to the study of American history and the history of the African-American people (Black History).
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Trivellato, Francesca. „What Differences Make a Difference? Global History and Microanalysis Revisited“. Journal of Early Modern History 27, Nr. 1-2 (24.03.2023): 7–31. http://dx.doi.org/10.1163/15700658-bja10057.
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Abstract This article discusses a number of scholarly trends that fall under the rubric of global history, with particular regard for those that address the early modern period (c.1400–1800). It stresses the rubric’s lack of coherence from both a methodological and ideological perspective. Most importantly, it revisits longstanding debates about the intersection of microanalysis and global history by assessing landmark works by Italian microhistorians, scholars of the so-called great divergence, and historians of climate and the environment. In so doing, it also asks how recent contributions build on insights that classic studies had already yielded – at least on the margins of the profession – beginning in the 1970s.
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Gommans, Jos. „Trade and Civilization around the Bay of Bengal, c. 1650–1800“. Itinerario 19, Nr. 3 (November 1995): 82–108. http://dx.doi.org/10.1017/s0165115300021331.
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About seven years ago the journalItinerarioissued a special volume on theAncien Régimein India and Indonesia that carried the papers presented at the third Cambridge-Leiden-Delhi-Yogyakarta conference. The aim of the conference was a comparative one in which state-formation, trading net-works and socio-political aspects of Islam were the major topics. Thumbing through the pages of this issue (while preparing this essay) I had the impression that the results of the conference went beyond its initial comparative goals. Directly or indirectly, several papers stressed that during the early-modern phase India and Indonesia were still part of a cultural continuum that was only gradually broken up by the ongoing process of European expansion during the nineteenth century. It appeared that even after the earlier course of so-called ‘Indianisation’ – a designation that unjustly conveys an Indian ‘otherness’ – India and the Archipelago shared many characteristics, especially in terms of their political and religious orientation. More importantly, these shared traits were shaped by highly mobile groups of traders, pilgrims and courtiers who criss-crossed the Bay of Bengal, traversing both the lands above and below the winds.
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Ostaric, Lara. „Absolute Freedom and Creative Agency in Early Schelling“. Philosophisches Jahrbuch 119, Nr. 1 (2012): 69–93. http://dx.doi.org/10.5771/0031-8183-2012-1-69.
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bstract. By arguing that the connection between Schelling’s reception of Plato and Kant’s conception of genius is relevant for Schelling’s early development, this essay demonstrates the following: (1) that Schelling’s early Idealism brings to the general problem that plagues German Idealists, i.e., the search for an unconditioned principle that unites theoretical and practical reason, the solution that is genuinely his own, this original solution consisting in Schelling’s conception of “creative reason [schöpfersiche Vernunft]”; (2) that the theme of an absolutely free creative subjectivity is shared by many of Schelling’s early works and, hence, that the early development of his Idealism can be interpreted as a beginning of the philosophical system or as a “proto-system” of what was later to become his 1800 System; (3) that when compared to Kant’s notion of genius, Schelling’s “absolute I” should be considered a regress rather than a progress.
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Patsch, Hermann. „Friedrich Schleiermachers Monologen und der Athenaeums-Kreis Wirkungsabsicht und Wirkungswandel einer frühromantischen Schrift“. Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 30, Nr. 1 (01.11.2023): 1–23. http://dx.doi.org/10.1515/znth-2023-0001.
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Abstract Schleiermacher’s anonymous Soliloquies of 1800 were written as a Supplement to his likewise anonymous book On Religion, Speeches to its Cultured Despisers of 1799. They are addressed to the circle of intellectuals around the early Romantic periodical Athenaeum, to the „Holy family“ (Friedrich Schlegel), and moreover to the despisers of Transcendental philosophy whose state of discussion is reflected. Thus they belong to the history of modern individual thought. The form of the book follows the contemporary imitation of classical poetic form (Hölderlin) which was prevalent among the Athenaeum Circle as well. Schleiermacher discusses the separation of philosophy and life (Fichte), the forming one’s self and the forming of artistic works (Goethe), i. e. the dichotomy of individuality and artistry. He confesses himself not to be an artist. Schleiermacher’s intention in Soliloquies was to give philosophical idealism a personal depth beyond intellectual speculation. Looking back in 1803 he realizes, in the draft of a poem, that he had idealized his empirical self in his literary self. Except for a few remarks by Schlegel, who at first did not umask the author‘s anonymity, there was no reaction whatever from the Athenaeum Circle. Soliloquies later became a popular Protestant book for spiritual edification.
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MacKay, James S. „The Second Repeat in Beethoven's Sonata-Form Movements: Tonal, Formal and Motivic Strategies“. Music Theory and Analysis (MTA) 8, Nr. 1 (30.04.2021): 1–41. http://dx.doi.org/10.11116/mta.8.1.1.
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Around the middle of the Classical period, there was a paradigm shift concerning sectional repeats in sonata-form movements. Whereas previously the repeat of both halves (exposition and development/recapitulation) was virtually pro forma, by the late 1700s composers typically only indicated the first repeat. When composers began to indicate the second repeat infrequently, this decision took on greater musical significance.<br/> Whereas Haydn and Mozart indicated the second repeat frequently, even in their late works, Beethoven indicated this repeat rarely (nineteen times in works with opus numbers). This infrequency is noteworthy and prompts the question: Are there issues of formal balance or tonal/motivic connections that would be lost if performers omitted this repeat? I will examine these works in depth, noting similarities in formal balance, motivic content, tonal procedures, and large-scale design. Although many of these movements date from Beethoven's early period, he also indicated the second repeat six times after 1800, including the finale of his last quartet, Op. 135. We can conclude that repeating a sonata-form movement's second half remained an option for Beethoven late in life, even after he had ostensibly broken definitively with the formal conventions of his Classical predecessors.
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Cvejić, Žarko. „From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach“. New Sound, Nr. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.
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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
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de Vos, Machteld. „In Between Description and Prescription: Analysing Metalanguage in Normative Works on Dutch 1550–1650“. Languages 7, Nr. 2 (06.04.2022): 89. http://dx.doi.org/10.3390/languages7020089.
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This paper is the first to perform a systematic quantitative analysis of the arguments used to motivate selections in grammatical entries from normative works on Standard Dutch written between ca. 1550 and 1650. Thus, it aims to obtain insight into what language ideologies were characteristic of this early modern period, what these reveal about how Standard Dutch took shape in its initiating phase, and what the differences are between the codification of Dutch in the early modern period (16th/17th century) and the (post)modern period (20th/21st century; analysed in earlier studies). Although certain issues within the annotation method need to be addressed in future research, the results indicate that the following principles were particularly characteristic of the early modern period: for Dutch to be a good language in terms of its grammar, it ought to differentiate, display consistency, mirror Latin and Greek, and reflect the use of certain authorities. These linguistic principles form the roots of the part of the Dutch standard language ideology (SLI; which, as previous research has shown, came into existence in the decades around 1800) that connects ‘language’ with ‘norm’ and that bestows value on the language’s regularity. However, the additional connection to social identity, that forms a second and crucial part of the SLI, played no major part in the arguments used in this time period yet. Moreover, two important differences between the early modern period and the (post)modern period were found: (1) the latter period showed a higher degree of consensus and therefore of canonisation of the normative discourse than the former period; (2) the nature of the metalanguage used in normative publications was explicitly prescriptive in the later period but mostly ostensibly descriptive/implicitly prescriptive in the earlier period. This indicates that, in terms of the metalanguage used, the normative discourse in the formative period of Standard Dutch was in between description and prescription.
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Kasatkin, Konstantin. „In Search of One’s Self: Russian Travelers in the Balkans in 1800–1830s“. Russian History 48, Nr. 1 (26.01.2022): 61–88. http://dx.doi.org/10.30965/18763316-12340023.
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Abstract In this paper, we are going to demonstrate that the writings of Russian travelers of the early 19th century laid the foundation of a discourse of Slavism. The travelers stopped perceiving the Balkans as part of the Near East and began considering them as ‘Ours’. This allowed the Russians to assert their identity within the boundaries of the European community while simultaneously separating themselves from the Roman-Germanic “West”. We examined four different types of descriptions of the Balkans by Russian travelers of the 1800–1830s. The authors’ approaches to these narratives were either orientalist or Slavic in nature. Works written in the framework of Orientalism are often characterized by the view of the Balkans as the land of the past, and travels perceived the Balkans as the antithesis of Russia, which they saw as being part of the West. Discourse of Slavism was fundamentally different from Orientalism. Firstly, it replaced the East-West binary relationship with a West-Russia-East triptych. Secondly, it sought to equate Russia and the Slavs. The travelers of the 3rd group were the first to discover a way to reconcile with the “backwards” past within the West-Russia-East triptych. Fourthly, Venelin verbalized a new paradigm in Russia’s description of the Balkans. He was the first to consider Russia as the center of the Slavic world, as opposed to the wild European periphery.
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Girard, Philip. „Themes and Variations in Early Canadian Legal Culture: Beamish Murdoch and hisEpitome of the Laws of Nova-Scotia“. Law and History Review 11, Nr. 1 (1993): 101–44. http://dx.doi.org/10.2307/743601.
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Beamish Murdoch (1800–76) was a young man when the first of the four volumes of hisEpitome of the Laws of Nova-Scotiarolled off Joseph Howe's press at Halifax in the spring of 1832. He was an old man when the first installment of his three-volumeHistory of Nova-Scotia, or Acadieappeared under James Barnes's imprint in the spring of 1865. These two works have received surprisingly disparate attention in the century since Murdoch's death. Today it is Murdoch the historian who is well known: No treatment of nineteenth-century Canadian historiography would omit reference to hisHistory. Murdoch's contributions to literary and political life, as editor of theAcadian Magazineand member of the Nova Scotia House of Assembly from 1826 to 1830, have also attracted attention. Murdoch the lawyer and legal treatise-writer, by contrast, is virtually unknown in both professional and legal academic circles, even in his home province. Until recently the Epitome has attracted virtually no scholarly attention of any kind.
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Vickers, Anita. „Social Corruption and the Subversion of the American Success Story in Arthur Mervyn“. Prospects 23 (Oktober 1998): 129–45. http://dx.doi.org/10.1017/s0361233300006293.
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Because both parts of Charles Brockden Brown's Arthur Mervyn; or, Memoirs of the Year 1793 (1799–1800) were clearly not composed under the same creative impetus as his other novels were (critics conjecture that the novel was written in three segments within a two-year span), the novel as a whole evinces the author's propensity to improvise more than any of his other works do (Ringe, 49). Early critics, notably R. W. B. Lewis (The American Adam) and David Lee Clark (Pioneer Voice in America), choose to ignore and/or gloss over the troublesome second part. Later criticism, however, deals with both part 1 and part 2. Kenneth Bernard, for one, concisely identifies one of the novel's themes as the correlation between innocence and experience, the first part dealing with Mervyn's innocence and inexperience, and the second dealing with his experience and his cognizance because of that experience (441).
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Zagorodniuk, Igor, und Sergiy Kharchuk. „Bats of Galicia and Bukovina in the 1830–1850s: composition and changes of fauna for 180 years“. Theriologia Ukrainica 2022, Nr. 24 (30.12.2022): 28–50. http://dx.doi.org/10.15407/tu2405.
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The chiropterological component of one of the most significant zoological written monuments of the 19th century of Ukraine in general and the Carpathian region in particular is analysed. This is Stanislaw Petruski’s monograph titled ‘Natural History of Wild Mammals of Galicia’ (1853). The translation of this part has been arranged and commented in accordance with modern schemes of bat taxonomy and nomenclature supplemented with appropriate descriptions from the works of Alexander Zawadski (1840) and Ivan Verkhratsky (1869). Consequently, the most complete picture of the species composition and some features of the biolo-gy of the bat fauna of Prykarpattia (essentially the Carpathian region on the whole) within Ukraine was reconstructed and described, which is important for understanding the composition of past fauna states in neighbouring countries, including Poland and Romania. Descriptions of 12 species from 9 genera are presented and commented taking into account the current state of knowledge. The underestimation concerned only rare species and those morphologically simi-lar to other more common ones (e.g. lesser horseshoe bat, Brandt’s bat, Nathusi-us’s pipistrelle, lesser noctule, etc.). Features of contemporary taxonomy, fauna composition, descriptions of dwellings and display of synanthropy are considered. Special attention is paid to the consideration of fauna changes that have occurred over almost 100 years, as well as the features of the fauna of that time, which shows obvious signs of the ‘warm phase.’ The latter is evidenced by descriptions of species in the fauna in general, which are currently more southern, and descrip-tions of winter finds of those species that in the last period of research (second half of the 20th century) were considered migratory and distant migrants. The main body of data by Petrusky, as follows from his text, dates from 1830–1850, and this corresponds to the period of climatic optimum reconstructed for Poland, where the period 1820–1850 was characterised by warm late winters and early springs. Apparently, the same period extended to Galicia, and later descriptions of ‘warm fauna’ in Ukraine are known for the period of the 1920–1930s and the modern period (1990–2020). The phenomenon of constant cycle of fauna and its regular changes due to climate fluctuations is considered.
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Worsley, Peter. „The Rhetoric of Paintings: Towards a History of Balinese Ideas, Imaginings and Emotions in the Late Nineteenth and Early Twentieth Centuries“. Jurnal Kajian Bali (Journal of Bali Studies) 9, Nr. 1 (27.04.2019): 35. http://dx.doi.org/10.24843/jkb.2019.v09.i01.p02.
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Western historical scholarship has taught us much about Southeast Asia in the period between 1800 and 1940. This was a time when the insistent, intensifying and transforming influence of Dutch colonial society and its culture became widespread in Bali and more broadly in the archipelago. Much too has been written about the analytical framework of European histories of these times. In this essay I discuss Balinese paintings from this same period which shed light on how painters and their works spoke to their viewers both about how the Balinese knew, imagined, thought and felt about the world in which they lived and about the visual representation and communication of these ideas, imaginings and feelings through the medium of narrative paintings. In this paper I hope to draw attention to a number of historiographical issues concerning the reception of the ideas, imaginings and feelings conveyed in paintings. In particular I shall have some remarks to make about the role of philology in this regard.
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Cimachowicz, Konrad, und Łukasz Jan Korporowicz. „English Law and Tadeusz Czacki: Analysis of References to English Legal Sources in Czacki’s Opus Magnum“. Acta Universitatis Lodziensis. Folia Iuridica 102 (25.04.2023): 59–68. http://dx.doi.org/10.18778/0208-6069.102.06.
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Tadeusz Czacki was one of the key figures who participated in the great scholarly discussions about the history, sources of development, and the position of Roman law in old Polish law. The discussion initiated by Czacki and Jan Wincenty Bandtkie in the early years of the nineteenth century lasted for many decades. Its consequences are still present today in modern Polish legal history scholarship. Although Czacki was an author of several legal treatises, most of his pivotal concepts regarding the above-mentioned issues were presented by him in his opus magnum, i.e. O litewskich i polskich prawach, published for the very first time in 1800. Czacki is well known as a self-educated scholar who referred to numerous works, both Polish and foreign. However, the objective of this article is to analyse Czacki’s knowledge and the use of English sources. During the Enlightenment, some Polish intellectuals became fascinated by English culture, politics, and the legal system. The impact of English law, however, has never been analysed in the context of Czacki’s work. The purpose of this article is to fill that gap.
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Belyaeva, Lyudmila A. „The structuration of Russian society in the 19th and early 20th century (based on the works of domestic researchers)“. VESTNIK INSTITUTA SOTZIOLOGII 11, Nr. 2 (2020): 14–36. http://dx.doi.org/10.19181/vis.2020.11.2.639.
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This article represents the first stage of a research project dedicated to analyzing the structuration of Russian society throughout the period since the mid 1800’s and until this day. The timeline for part one includes the period up until 1917, while part two will be dedicated to Soviet and post-Soviet times. This article utilizes the methodology of A. Giddens, who suggested using the term “structuration” in order to analyze social relationships in space and time. This methodology implies examining structuration processes through the lens of those studies which were conducted during periods when radical shifts were occurring within the structure of Russian society. The main event which defined the direction for social change turned out to be the emancipation of the serfs in the Russian Empire, which lead to shifts in the population’s structure: accelerated development of a working class, social transformations in the village, and the advancement of internal migration in Russia. The article shows that in Russia these processes were accompanied by science, which included official agencies conducting population censuses, studying the composition and working conditions at factories and plants (this function was carried out by plant and manufactory inspectorates), as well as studies conducted by scientists and practitioners. The works of Nikolai Kalachov, N. Flerovsky, Evgeny Pogozhev, Mykhailo Tuhan-Baranovskyi and others aided in developing detailed social characteristics of workers and their position in the structure of society and at work. Studying the village (and consequently the largest social class – the peasants) was the prerogative of provincial councils. Comprehensive monographic studies were conducted by Piotr Semionov, Vassily Pokrovsky, Vassily Orlov, Piotr Chervinsky, Fedor Shcherbina, as well as other researchers. The article shows that the population’s structuration at the turn of the century in regards to the territorial aspect depended on resettlement and internal migration to a significant degree. Remarkable studies of this process were conducted by Denis Davydov, Evgeny Anuchin, Isaac Hourwich, Ivan Yamzin and other Russian scientists. Aside from scientists, practitioners also took part in these studies. The Russian intelligentsia actively partook in field research. The educated class’ efforts made it possible to attain valuable data on society’s structure, on the state of social relationships in Russia, migration processes, and the social characteristics of society’s key structural elements – peasants and workers.
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Yuliya Ivanovna, Arutyunyan. „Interpretation of Medieval art in the scientific illustration of France in the 1820s – 1860s“. Vestnik of Saint Petersburg State University of Culture, Nr. 2 (51) (2022): 154–61. http://dx.doi.org/10.30725/2619-0303-2022-2-154-161.
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In the XIX century, the importance of scientific illustration increases. Images of the Middle Ages appear in works on the history of art and material culture, reference books, periodicals, and guidebooks. The characteristic features of scientific illustration are the desire to observe the real proportions and composition of monuments of architecture and fine art, diligence, understanding the patterns of style and reflecting them in graphic reproductions. The publications combine detailed images of architectural monuments and schematically interpreted details of facades and interiors. In the work of Seroux d’Agencourt, separate tables reproduce the exteriors and plans of famous buildings of the Early Middle Ages, Romanesque and Gothic. The dictionary of E. E. Viollet le Duc includes a number of images of works of art; the graphic interpretation of structures and objects of visual arts is clear and concise. The magazines «Le Magasin pittoresque» and «Musée des familles» are widely attracted to landscape views, including architectural structures of the Middle Ages. In «Bulletin monumental» scientific graphics relate to texts and are focused on reliable and detailed interpretation of monuments. At the turn of the XIX–XX centuries, graphic images began to be replaced by photographs, and the genre gradually lost its significance. Over the course of a century, scientific graphics have evolved from a landscape «pictorial» interpretation of the form to a scientifically reliable statement of the appearance of medieval architecture and works of art.
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Kent, Joan. „The Rural ‘Middling Sort’ in Early Modern England, circa 1640–1740: Some Economic, Political and Socio-Cultural Characteristics“. Rural History 10, Nr. 1 (April 1999): 19–54. http://dx.doi.org/10.1017/s0956793300001679.
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A middle class ‘did not begin to discover itself (except perhaps in London) until the last three decades of the [eighteenth] century’. So wrote E. P. Thompson in the 1970s in a now-famous analysis which divided English society into patricians and plebeians, and which, along with J. H. Hexter's ‘The Myth of the Middle Class in Tudor England’, largely eliminated ‘middle class’ from the vocabulary of early modern English historians. During the past decade, however, there has been renewed focus on the middle ranks in early modern England, now commonly labelled ‘the middling sort’, and such studies explicitly or implicitly call into question Thompson's polarized portrayal of English society. A number of earlier works analyzed the middling in the countryside, particularly in the period 1540 to 1640; but recent discussions focus largely on townsmen, and most are concerned with a later period, the second half of the seventeenth and the eighteenth centuries. Even in a volume such asThe Middling Sort of People: Culture, Society and Politics in England 1550–1800, a collection of essays presenting recent scholarship on the subject, the rural middling sort receive very little attention (a fact acknowledged by one of the editors). This essay will draw upon detailed evidence from several parishes to consider characteristics of the middling in the countryside during the later seventeenth and early eighteenth centuries.
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Найма Аль-Аббуди, Мунтассир Абдулкадим. „The theme of fear in A. P. Chekhov’s works in the 1880s – early 1890s: typology of the author’s position“. Tomsk state pedagogical university bulletin, Nr. 4(234) (18.07.2024): 120–27. http://dx.doi.org/10.23951/1609-624x-2024-4-120-127.
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Страх как один из важнейших концептов человеческой культуры интенсивно и разнообразно описывается в мировой художественной литературе. А. П. Чехов на протяжении всего творчества неоднократно обращался к проблематике человеческих страхов. Показательно, что им написан ряд произведений, в которых существительное «страх» вынесено в название, причем это преимущественно рассказы раннего периода творчества, традиционно датирующийся 1880–1887 гг.: «Тысяча одна страсть, или Страшная ночь» (1880), «Страшная ночь» (1884), «Страхи» (1886). При этом в указанный период создаются и другие произведения, в которых чувство страха, опасности является основой всего повествования, например, «На большой дороге» (1884), «Ночь на кладбище (Святочный рассказ)» (1886). Наконец, рассказ «Страх» (1892) становится кульминацией чеховской проблематики страха жизни. Целью работы стало выявление и описание типологии авторской позиции по отношению к теме страха в творчестве Чехова 1880-х – начала 1890-х гг. Основным материалом являются произведения Чехова раннего периода творчества – 1880–1887 гг., посвященные теме страха, а также рассказ «Страх» начала 1890-х гг. и эпистолярий писателя. Использован метод сопоставительного анализа, системный и нарратологический подходы к художественным произведениям и анализ творчества Чехова в русле позиционного стиля. Сопоставительный анализ чеховских произведений «Тысяча одна страсть, или Страшная ночь», «Страшная ночь», «На большой дороге», «Ночь на кладбище (Святочный рассказ)», «Страхи», «Страх» позволил выявить общее «резонантное» пространство в наследии писателя, посвященное теме страха, что позволяет поставить вопрос о единой авторской позиции по отношению к указанной теме в русле позиционного стиля Чехова. Ранние рассказы «Тысяча одна страсть, или Страшная ночь» и «Страшная ночь» определяются юмористическим подходом к «страшному», однако уже в 1884 г. в драме малой формы «На большой дороге» страх получает драматическое воплощение. Важным в развитии темы страха является 1886 г.: с одной стороны, в рассказе «Ночь на кладбище» Чехов возвращается к юмористическому изображению страха, с другой стороны, в рассказе «Страхи» эта тема обретает экзистенциальные смыслы, которые в рассказе 1892 г. «Страх» вырастают до представления о том, что экзистенциальный страх в человеческой жизни тотален. Рассмотрение произведений Чехова 1880-х – начала 1890-х гг. с точки зрения позиционного стиля позволило увидеть в них типологию авторской позиции по отношению к человеческому страху. Произведения, объединенные этой проблематикой, обладают сходными художественными особенностями: это мотив ночи, мотив непогоды, внутренняя фокализация, обусловленная тем, что повествование организовано от первого лица. Но в целом в этих произведениях выявлена типология изображения чувства страха: авторская позиция по отношению к этой теме определяется юмористическим, драматическим и экзистенциальным подходами. Fear as one of the key basic concepts of culture has repeatedly become the object of researches by Russian and foreign scientists. A.P. Chekhov, throughout his work, repeatedly addressed the problem of human fears. Let us also pay attention to the fact that in the works of A. P. Chekhov there are more than one work with the word “fear” in the title: these are the stories ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘Panic Fears’ (1886), and ‘Terror’ (1892). As we can see, the writer repeatedly came back to the problem of fear and how fear affects people throughout his whole life. In these stories, “fear” is the basis of the entire narrative, this feeling, starting with the title, is embodied at the compositional and metaphorical levels of the text. At the same time, other works were created during this period, in which the feeling of fear and danger is the basis of the entire narrative, for example, ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886). Finally, the story ‘Terror’ (1892) becomes the culmination of Chekhov’s fear of life. The aim is to identify and describe the typology of the author’s position in relation to the theme of fear in the work of A. P. Chekhov in the 1880s and early 1890s. The main material is Chekhov’s works of the early period of creativity in 1880–1887, dedicated to the theme of fear, as well as the story ‘Fear’ (1892) and the writer’s epistolary. The method of comparative analysis, systemic and narratological approaches to works of art and methodological scientific problems of positional style are used. A comparative analysis of Chekhov’s works ‘A Thousand and One Passions, A Scary Night’ (1880), ‘A Terrible Night’ (1884), ‘On the High Road’ (1884), ‘Night in the Cemetery (Christmas Story)’ (1886), ‘Panic Fears’ (1886), and ‘Terror’ (1892) made it possible to identify a common “resonant” space in the writer’s heritage, dedicated to the theme of fear, which allows us to raise the question of a single author’s position in relation to this topic in line with the scientific problems of Chekhov’s positional style. The early stories ‘A Thousand and One Passions, A Scary Night and ‘A Terrible Night’ are determined by a humorous approach to the “terrible”, but already in 1884, in the small-form drama ‘On the High Road’, fear receives a dramatic embodiment. Important in the development of the theme of fear in 1886 is on the one hand, in the story ‘Night in the Cemetery’ Chekhov returns to the humorous depiction of fear, on the other hand, in the story ‘Panic Fears’ this theme acquires existential meanings, which in the story of 1892 ‘Terror’ grow to the notion that existential fear in human life is total. The methodological approach in terms of Chekhov’s positional style made it possible to identify in his works of the 1880s and early 1890s the typology of the author’s position in relation to human fear. The works united by this problem have similar artistic features: this is the motif of the night, bad weather, internal focalization, due to the fact that the narration is organized in the first person. But in general, in these works, a typology of depicting a feeling of fear is revealed: the author’s position in relation to this topic is determined by humorous, dramatic and existential approaches.
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Klimentyeva, Margarita F. „Interiorization Phenomenon within the Plots of the Fantastic Tales by F. V. Bulgarin (1820–1840s)“. Studies in Theory of Literary Plot and Narratology 14, Nr. 2 (2019): 5–13. http://dx.doi.org/10.25205/2410-7883-2019-2-5-13.
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The paper focuses on the analyses of the interiorization phenomena in the fantastic (utopian and dystopian) tales by Faddey Bulgarin that he wrote and published between 1825 and 1846. The tales came out in such periodicals as Severnyy archiv, Literturnye zapiski, Syn otechestva. The study of the texts allows to assume that Rus-sian mass literature born within magazine prose was characterized by the interiorization of plots. The latter led to the formation of an adaptive hab-itus entirely assimilated by the Russian cultural and social discourses around the 1830–1840s. The study of the texts by Bulgarin (which in terms of genre can be identified either as journal manifestos or literary works of different genres) indicates his conscious orientation on the reader, the intended involvement of the reader into the literary and would-be-literary life of an artistic word. On the one hand, that could be the echo of the tradition established by the Enlighteners who educated the reader via literary words, thus shaping his or her ethics and esthetics. On the other hand, that could be the reflection of the interiorization phenomenon that is the structural transposition of a text (text structure) into the internal structure of the reader’s mind. We suggest that the interiorization phenomenon and the shaping of the mass literature are interconnected; the adaptive habitus born in the magazine prose in the mid-1820s – the early 1840s determined the energy of mind and the peculiarities of thinking of the mass reader. Despite almost no narrator addressing the reader in the fantastic tales, the reader finds him- or herself indirectly present throughout the texts as an addressee of the interiorization. The discursive strategy adopted by Bulgarin consists of the transformation of the reader’s mind patterns into the adaptive habitus of mass literature.
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Komlós, Katalin. „After Mozart: The Viennese piano scene in the 1790s“. Studia Musicologica 49, Nr. 1-2 (01.03.2008): 35–48. http://dx.doi.org/10.1556/smus.49.2008.1-2.2.
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The last decade of the eighteenth century was a transitional period in the political as well as the cultural history of Europe. Aesthetic values underwent far-reaching changes everywhere: the field of keyboard music and keyboard performance was no exception. In Vienna, the once legendary performances of W.A. Mozart already seemed out of date for some musicians before the turn of the century. ‘Pearly’ playing gave way to singing legato style, and the occasional use of damper pedals. Of course, the appearance of the young Beethoven made a profound effect on the Viennese piano scene. He competed with four pianists on the keyboard (Gelinek, Wölfl, Steibelt, Vogler) in the course of his first ten years in Vienna: through the contemporary descriptions of these events we can learn a great deal about the current styles of piano playing. The keyboard works of the pianist-composers of the time varied in their style and level of craftsmanship. Textures became denser, and more demanding to play. The general style approached the tone of the early nineteenth century, Schubert’s in particular. Of the younger generation, Hummel was the first who performed on Viennese stages before the end of the century. After 1800, the significant Viennese debut of three young artists, Kalkbrenner, Czerny and Moscheles, initiated a new kind of bravura in pianism, which prepared the era of the instrumental virtuosity of the nineteenth century.
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Musser, Jordan. „Carl Czerny's Mechanical Reproductions“. Journal of the American Musicological Society 72, Nr. 2 (2019): 363–429. http://dx.doi.org/10.1525/jams.2019.72.2.363.
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This article reassesses the “mechanical” style of playing featured in Carl Czerny's pedagogical works and keyboard arrangements—specifically, the Complete Theoretical and Practical Piano Forte School, op. 500 (1839), its supplementary text Letters to a Young Lady (ca. 1840), and the four-hand transcription of Beethoven's Symphony no. 9 in D Minor, op. 125 (the “Choral”). The first part of the article situates opus 500 within the larger pedagogical milieu of Biedermeier music culture and Johann Heinrich Pestalozzi's progressivist educational reforms, exploring the way it tasked predominantly women amateurs with assembling basic finger sensations in an exercise-by-exercise—“progressive”—fashion. I propose that this cumulative logic reflects an early-century epistemic norm—what Friedrich Kittler dubs a “mechanical program” of assembly and augmentation. The second part considers Czerny's transcription of the finale of Beethoven's Ninth from the perspective of ludo-musicology and cultural techniques media analysis, outlining the reductive and replicative—“reproductive”—techniques by which Czerny accommodated his former teacher's work to the hands he shaped in the private sphere. I argue that his pedagogies and transcriptions were recursively interrelated. Czerny was simultaneously a mechanic of the hand pedagogically and a mechanical reproducer of symphonies transcriptively, creating a multivalent corpus that forces us to rethink the media-theoretical concept of “mechanical reproduction” vis-à-vis “Discourse Network 1800.”
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Shishparonok, Elena V. „The existentional problem of man's quest for his own faith in A.P. Chekhov`s works in the late eighties and in the early nineties of the 19th century“. Sibirskiy filologicheskiy zhurnal, Nr. 3 (01.09.2009): 46–50. http://dx.doi.org/10.17223/18137083/28/7.
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Verkhovykh, Lyudmila N. „TO THE STUDY OF THE ORIGINS OF DOMESTIC LINGUISTIC LOCAL HISTORY STUDIES AND REGIONAL ONOMASTICS“. Proceedings of Southern Federal University. Philology 26, Nr. 1 (20.03.2022): 81–93. http://dx.doi.org/10.18522/1995-0640-2022-1-81-93.
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The article presents an analysis of scientific literature devoted to the study of the linguistic local history direction of language learning. The aim of the work is to describe the origins of Russian linguistic local history, regional onomastics based on the use of textological analysis, descriptive method, elements of comparative and comparative-historical methods. The material of the research is presented by works that have a linguistic local history character, starting from the 30s of 18th century. Based on the analysis of scientific works of the 18th and early 19th centuries, including the linguistic local history component, the author comes to the following conclusions. Since the first third of the 18th century in Russia, there have been some fragmentary attempts at linguistic local lore commenting when describing settlements by historians, geographers, physicians, and biologists who participated in research expeditions across Russia. Of particular importance in this respect was the historical and regional studies activities of V.N. Tatishchev, who compiled detailed questions for the study of settlements in Russia, prepared the first part of the “Lexicon of Russian historical, geographical, political and civil”. The material of the research shows that the origins of scientific linguistic regional studies in Russia are associated with the activities of V.K. Trediakovsky and M.V. Lomonosov. M.V. Lomonosov consistently introduced the linguistic local history component into the research methodology, which was applied in practice in the compilation of the “Russian grammar”, in the organization of centralized work on the historical and geographical study of Russian settlements, in the development of the foundations of teaching Russian students in their native language. M.V. Lomonosov is the founder of the linguistic local history direction in Russian linguistics. The beginning of scientific regional onomastic research is associated with the activities of E.A. Bolkhovitinov, who for the first time in 1800 gave a detailed historical and linguistic description of the toponymy and microtoponymy of the Voronezh Territory.
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Ильясова, Л. Р. „The novels about “new people” of the turn of the 1860s-70s and their reception by the Russian society“. Диалог со временем, Nr. 76(76) (17.08.2021): 56–69. http://dx.doi.org/10.21267/aquilo.2021.76.76.030.
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В статье рассматриваются свидетельства о реакции общества на романы о «новых людях», выходившие на рубеже 1860–1870-х гг. Приводятся мнения и отзывы критиков, читателей, цензуры, раскрываются факты о воздействии этой литературы на реальную деятельность интеллигентов. На основе этих данных подтверждается, что романы о «новых людях» отразили запросы и настроения разночинной интеллигенции, оказывали влияние на формирование ее мировоззрения и идеологии, что доказывает ценность такой литературы как исторического источника. The article discusses the evidence of the reaction of the Russian society to novels about “new people”, published in the late 1860s – early 1870s. Opinions and reviews of critics, readers, censorship of works are presented, facts about the impact of this literature on the real activities of intellectuals are revealed. The study confirms the existing that novels about “new people” reflected the demands and moods of the raznochinnaya intelligentsia, influenced the formation of its worldview and ideology, which proves the value of such literature as a historical source.
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Burmistrov, Konstantin Yu. „Jewish Philosopher from Lithuanian Forests: On Solomon Maimon and His “Autobiography”“. Voprosy Filosofii, Nr. 2 (2022): 135–45. http://dx.doi.org/10.21146/0042-8744-2022-2-135-145.
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Solomon Maimon (1753–1800), one of the most significant Jewish philosophers of modern times, in his writings tried to critically approach the tradition of Jewish thought and compare its teachings with the views of European philosophers. In recent decades, he and his views have attracted close attention of historians of philosophy. Recently, seven volumes of his works were published in Russia, translated from German and Hebrew. One of his most famous books is his Lebensgeschichte (Autobiography), an autobiography written by him in the 1790s and revealing both the stages of his life path and spiritual development, as well as his understanding of various problems of philosophy, religion, ethics and mysticism. This book has enjoyed a reputation as a classic in the genre of “intellectual biography” for two centuries. The article discusses the main features of this book, as well as its perception in the 19th – early 20th centuries. The stereotypical image of Maimon as a freethinker Jew, a fighter against religious superstitions and social inequality, almost overshadowed his significance as an original philosopher, whose views were appreciated by I. Kant and J.G. Fichte. This attitude towards Maimon was fully reflected in the translations of his Autobiography. Our article pays special attention to the Russian translations of this book. We are publishing for the first time documents related to an attempt to publish in the 1930s a complete commented translation of Maimon’s book. Famous Soviet philosophers and translators participated in the preparation of this translation (Boris G. Stolpner, Isaak M. Alter, and others), but the book was never published for political reasons.
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Lippit, Yukio. „Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan“. Korean Journal of Art History 313 (31.03.2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.
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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of the Muromachi period. The monochrome ink puppy paintings of the Kyoto artist Tawaraya Sōtatsu 俵屋宗達(ca. 1600-1640), however, depict the bodies of their canine protagonists with the same wash-based approach found in Yi Am’s works, and appear to have been catalyzed in some way by an encounter with the Korean artist’s paintings. In the case of Sōtatsu, this approach eventually came to be known as tarashikomi, a signature technique of the Rinpa School, and therefore it is no exaggeration to state that Yi Am’s works played a role in inspiring one of the most recognizable techniques of early modern Japanese painting. Although dog and puppy paintings are traditionally linked to auspicious meanings, Sōtatsu’s puppy paintings appear to have been associated within a Zen Buddhist themes, in particular the koan “A Dog Has No Buddha-Nature.” This Zen Buddhist framework of meaning can be gleaned from inscriptions on his paintings by Zen monks such as Isshi Bunshu 一絲文守(1608-1646) and Tangai Musen 丹崖無染(1693-1763). I would propose that the particular wash-based approach of Yi Am and Sōtatsu to this subject was particularly significant in generating this association. The eighteenth-century painter-poet Yosa Buson 与謝蕪村(1716-1784) also based his puppy paintings upon models derived from Yi Am. In the case of Buson, however, the cultural meaning of these works can be gleaned from his haikai poetry, in particular a poem accompanying a Maruyama Okyo 円山応挙(1733-1795) painting of a puppy that associates its inky body with the interiority of a poetic subject. The final case study examined in this essay is Itō Jakuchū 伊藤若冲(1716-1800). Jakuchū left a number of puppy paintings that embody Zen Buddhist themes in highly sophisticated ways. Because he was close to Tangai Musen, it is likely that he was aware of Sōtatsu’s puppy paintings, and indirectly familiar with those of Yi Am. Thus the case could be made that Yi Am’s wash-based technique opened up a new horizon of interpretive possibility among Japanese painters extending from Sōtatsu to Jakuchū.
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Puche Riart, Octavio, und Ester Boixereau Vila. „Scientific training and early works of Felipe Bauzá Rávara (1802-1875)“. Llull Revista de la Sociedad Española de Historia de las Ciencias y de las Técnicas 46, Nr. 93 (05.03.2024): 155–83. http://dx.doi.org/10.47101/llull.2023.46.93.puche.
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Felipe Bauzá Rávara, son of the famous sailor Felipe Bauzá Cañas, was trained at the Madrid School of Civil Engineers (1820-1822), at the Sorbonne University (1824-1828), also carrying out the access preparation a small attendance at the Almadén Mining Academy (1828-1829). Due to his curriculumhe was selected to study in Europe, being sent, thanks to the efforts of Fausto Elhuyar, to the prestigious Freiberg Bergakademie (1830-1834). It was intended to prepare future teachers for the new School of Mines (1836). As the teaching positions were limited, and the candidates of very high level, Felipe Bauzá was left out of the project. After being commissioned look for artesian water in Castilla-León (1835-1836), he went on to occupy complicated professional positions, as a member of the mining corps, in the mining districts of Almadén (1836-1838) and Linares (1838-1841). In later years he had quieter destinations, being able to dedicate himself with greater determination to Earth Sciences. We study in this paper his professional career and scientific contributions made during his early years.
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Lee, Sang Ung. „The Early Life and Works(1890-1933) of Dutch Reformed Theologian Klaas Schilder“. Bible & Theology 84 (30.10.2017): 101–31. http://dx.doi.org/10.17156/bt.84.04.
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Tuft, Karsten. „Pædagogik – opdragelse. Frihed og demokrati. Kausalitet og totaliserende elementer“. Forskning i Pædagogers Profession og Uddannelse 1, Nr. 2 (03.11.2017): 15. http://dx.doi.org/10.7146/fppu.v1i2.97720.
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ResuméBegreberne pædagogik, opdragelse, frihed, demokrati, kausalitet og totaliserende elementer analyseres ud fra sprogteorien i filosofisk hermeneutik (Gadamer). I Oplysningstiden ser vi en konfrontation mellem pædagogik (Pädagogik), som føres frem af de nye socialvidenskaber (Sozialwissenschaft, Staats-; Achenwall, Schlözer), og opdragelse (Erziehung), som føres frem i filosofi (Kant). Oplysningstidens begreb om kausalitet i pædagogik (Schlözer; det, der virker) antages at være forbundet med vore dages totaliserende elementer (Rousseau, Arendt). Frihedens betydning i Oplysningstidens opdragelsesfilosofi (Kant; det, der sker) svækkes i 1800-tallet. Derimod er frihed et stærkt begreb i den politiske proces omkring såvel det repræsentative demokrati (Nevers) som ved opbygningen af danske institutioner for børn og for uddannelse af pædagoger. Gennem den lange politiske kamp for frihed blev samfundet også reformeret med børnehaver og fritidshjem, der blev skabt i tæt sammenhæng med uddannelse af pædagoger; tilsammen kaldet den reformpædagogiske bevægelse. I dag ser vi totaliserende elementer vinde frem og true børns og voksnes myndighed og frihed. AbstractThe concepts of pedagogy, upbringing, freedom, democracy, causality and totalizing elements are analysed through the theory of language in philosophical hermeneutics (Gadamer). During The Enlightenment we find a confrontation between pedagogy (Pädagogik) promoted by the new social sciences (Sozialwissenschaft, Staats-) and upbringing (Erziehung) promoted by philosophy. Enlightenments conception of causality in pedagogy (Schlözer, what works) is assumed to have connection with todays totalizing elements (Arendt). The position of freedom in the Enlightenment philosophy of upbringing (Kant, what happens) is weakend during the 19th century. Nevertheless freedom is a strong political concept connected with representative democracy (Nevers) and the field of Danish early childhood education. During the long political fight for freedom Kindergartens were established together with education of pedagogues, and the reform-pedagogical movement were promoted. Today we are in a transition where totalizing elements gain strength and threatens genuine independency in the life of children and adults.
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Tsvetkova, Nina. „MODEL OF RUSSIAN CULTURE IN S.P. SHEVYREV’S WORKS OF EARLY 1840'S“. Literaturovedcheskii Zhurnal, Nr. 1 (2022): 32–54. http://dx.doi.org/10.31249/litzhur/2022.55.02.
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The article deals with the civilizational approach of S.P. Shevyrev to the history and culture of Russia. In his works the philosopher and critic analyzes Russian history, literature and education in comparison with Western European ones, and comes to the conclusion about their distinctive character. The scholar considers the main task of his time to create a model of national culture, whose scope includes not only creativity, but also “spiritual production”: state and family upbringing and education. In this he supports the theory of “official nationality” by S.S. Uvarov. He assigns Pushkin and Gogol an important role in the education of the Russian man, not accepting the St Petersburg “industrial literature” by Belinsky, Bulgarin, Grech and opposing them his educational projects in the magazine “Moskvityanin”. The conclusion is that Shevyrev’s model of culture corresponds to N.Y. Danilevsky’s theory of cultural and historical types.
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Pašanbegović, Muhamed. „Major periods of borrowing words from other languages in the history of english“. Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), Nr. 2 (15.12.2004): 207–14. http://dx.doi.org/10.51728/issn.2637-1480.2004.207.
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This paper presents a short overview of the history of the English language and its expansion through borrowing of words from other languages. The borrowed words are referred to as ‘loanwords’. Unlike any other language, English vocabulary consists of 70% ‘loan words’. The history of English and thus ‘borrowing’ is divided into four periods: Old English Period (500-1100), Middle English Period (1100-1500), Early Modern English Period (1500-1800) and Late Modern English Period (1800-present). Each of the four periods is discussed in terms of the influential languages that dominated these periods and their contribution to the development of the English language.
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Maslov, Konstantin. „In search of the lost tradition: towards a history of church painting of the 1830s — 1st half of the 1840s“. St. Tikhons' University Review. Series V. Christian Art 48 (30.12.2022): 74–94. http://dx.doi.org/10.15382/sturv202248.74-94.
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Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.
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PRENA, JENS, YUN HSIAO und ROLF G. OBERPRIELER. „New combinations and synonymies in the weevil genus Lyterius Schönherr (Coleoptera, Curculionidae), with a conspectus of historical works on Daldorff’s Sumatran beetles“. Zootaxa 5380, Nr. 1 (28.11.2023): 26–36. http://dx.doi.org/10.11646/zootaxa.5380.1.2.
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In preparation for a future taxonomic revision, we explore provenance, collectors, original owners and current repositories of the type material for three available genus-group names, Lyterius Schönherr, 1844, Barisoma Motschulsky, 1863 and Plaxes Pascoe, 1885, which have been applied to a group of small, relatively flat weevils associated with Pandanaceae. Lectotypes are designated for Rhynchaenus musculus Fabricius, 1802 and Plaxes impar Pascoe, 1885. The lectotype of Rh. musculus is designated as neotype for Curculio abdominalis Weber, 1801, making the species names objective synonyms (reestablished synonymy), with C. abdominalis having date priority. The names Barisoma Motschulsky and Plaxes are placed in synonymy with Lyterius (new synonymies). Five valid species names are recognised in Lyterius, L. abdominalis (Weber), L. dispar (Faust, 1896) new combination, L. impar (Pascoe) new combination, L. instabilis Boheman, 1844 and L. pandanicola (Motschulsky, 1863) new combination. We also provide an overview of the early descriptive works on Sumatran beetles collected by Daldorff and their original owners.
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Khokhlova, Natalya A. „THE HUNTING CONCEPT IDENTITY IN WORKS BY A.P. CHEKHOV OF EARLY 1880S“. Vestnik Tomskogo gosudarstvennogo universiteta, Nr. 400 (01.11.2015): 11–19. http://dx.doi.org/10.17223/15617793/400/2.
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Andries, Annelies. „Uniting the Arts to Stage the Nation: Le Sueur's Ossian (1804) in Napoleonic Paris“. Cambridge Opera Journal 31, Nr. 2-3 (Juli 2019): 153–87. http://dx.doi.org/10.1017/s095458672000004x.
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AbstractThis article argues that the early nineteenth century was a critical period in the development of operatic aesthetics in France: fuelled by post-Revolutionary notions about theatre's importance in processes of nation-building, the Opéra sought to strengthen its reputation as the ‘Académie that unites all the arts’. The intertwinement of this aesthetic and political aim is conspicuous in the production of Jean-François Le Sueur's Ossian ou les bardes (1804), loosely based on James Macpherson's Ossianic ‘translations’. The work's meticulous coordination of the arts sought to bring third-century bardic society back to life and make audiences feel part of this long-forgotten, supposedly ‘historical’ and French, past. Thus, this article points to the Opéra's intensifying interaction with nationalism and genealogical historiography around 1800 as it sought to define its role as a national theatre. It also challenges the common scholarly notion that the Opéra's productions served primarily to aggrandise Napoleon.
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Mearns, Richard, und Barbara Mearns. „George Montagu (1753–1815): travels in Scotland and his Scottish bird specimens“. Archives of Natural History 50, Nr. 1 (April 2023): 35–48. http://dx.doi.org/10.3366/anh.2023.0826.
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George Montagu (1753–1815) is remembered particularly for his Ornithological dictionary (1802), Testacea Britannica (1803) and his Supplement to the Ornithological dictionary (1813), the works which helped establish his reputation as an astute and competent naturalist. His studies were mainly carried out in southern England, particularly in Wiltshire and Devon, but he travelled widely in Britain and Ireland during his military career. Montagu himself recorded that he had been at Dumbarton, Inverness, Loch Lomond and Mull, but his activities in Scotland in the early 1770s and early 1780s are otherwise not well recorded, there being no dates attached to his observations or specimens. An examination of the 15th Regiment of Foot’s muster rolls has shed some light upon his movements and helps clarify certain aspects of his life, including his elopement. Montagu’s Scottish bird specimens, whether he shot them himself or acquired them from other sources, are of special significance as they are amongst the oldest held in the Natural History Museum at Tring.
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Sarycheva, Kristina V. „Leconte de Lisle in Russian literary criticism of the 1880s – early 1910s“. Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, Nr. 81 (2023): 256–68. http://dx.doi.org/10.17223/19986645/81/14.
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The article examines the evolution of the perception of the works of Charles Leconte de Lisle in Russian literary criticism in the late 1880s – early 1910s. The chronological framework of the study is due to the fact that in 1889 the first detailed analysis of works by Leconte de Lisle appeared and, in the 1890s, Russian symbolists paid attention to the French poet; the other chronological boundary was caused by the crisis and end of Russian symbolism in in the late 1900s and early 1910s. Using the historical comparative method, the author analyzes articles by Maria Frishmut, Dmitry Merezhkovskiy, Valery Bryusov, Innokentiy Annenskiy, fully or partially dedicated to Leconte de Lisle. The author discovers that Russian critics relied on French critical works on Leconte de Lisle: critics saw his poetry as cold, dispassionate, objective (nonpersonal), possessing the perfection of a poetic form close to sculpture and painting. While Frishmut uses the judgments of his French predecessors, relying primarily on Paul Bourget, the symbolists put works of Leconte de Lisle in the context of the genealogy of Russian symbolism. Merezhkovskiy in the 1890s leads the genealogy of the symbolists from Leconte de Lisle. Bryusov considered Leconte de Lisle a classic and a representative of a certain line in poetry characterized by a careful accomplishing of a poetic form. The author pays particular attention to the evolution of the perception of Leconte de Lisle in Annenskiy’s literary criticism. She shows that Annenskiy developed his aesthetic concepts on the basis of Leconte de Lisle’s works and infers that in the late 1890s–1900s, during the period of the formation of symbolism, Annensky formed the concept of art as a symbol based on Leconte de Lisle’s works and in the late 1900s, in the period of the crisis of symbolism and the appeal to extra-aesthetic reality, considered Leconte de Lisle in the appropriate categories, seeing his tragedy in the fact that in his work he turned away from life and always talked about death. A statue is a stable image in Annenskiy’s articles that mention Leconte de Lisle; for the critic, a statue as a perfection of form and a classic monument corresponds to all Leconte de Lisle’s works and his place in the history of literature.