Academic literature on the topic '1782-1840'
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Journal articles on the topic "1782-1840"
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Wolf, P. "Creativity and chronic disease Niccolo Paganini (1782-1840)." Western Journal of Medicine 175, no. 5 (November 1, 2001): 345. http://dx.doi.org/10.1136/ewjm.175.5.345.
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Fernández Rodríguez, María del Carmen. "Frances Burney and Female Friendships : Some Notes on "Cecilia" (1783) y "The Wanderer" (1814)." Journal of English Studies 9 (May 29, 2011): 109. http://dx.doi.org/10.18172/jes.167.
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British eighteenth-century fiction is rich in presentations of female friendship, a literary convention which permeated all genres and the works of women writers with different ideological backgrounds, ranging from Mary Wollstonecraft’s radical views to Jane Austen’s conservative ones. This paper analyses the oeuvre of the well-known novelist, playwright and diarist Frances Burney (1752-1840) by taking into account Janet Todd’s ideas on female ties and the female spectrum in Burney’s productions. The English authoress took part in a feminist polemic. Here I maintain that the complexity of the relationships between women in Cecilia (1782) and The Wanderer (1814) is directly influenced by class and social constraints. On the other hand, there is an evolution towards a more benevolent view of woman which needs revision.
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Kasper, Carlos B., Fábio D. Mazim, José B. G. Soares, Tadeu G. de Oliveira, and Marta E. Fabián. "Composição e abundância relativa dos mamíferos de médio e grande porte no Parque Estadual do Turvo, Rio Grande do Sul, Brasil." Revista Brasileira de Zoologia 24, no. 4 (December 2007): 1087–100. http://dx.doi.org/10.1590/s0101-81752007000400028.
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Entre janeiro de 2005 e dezembro de 2006 foram realizados estudos sobre a composição e abundância relativa dos mamíferos de médio e grande porte do Parque Estadual do Turvo. Para tanto, foram utilizados registros de armadilhas fotográficas além de visualizações e dados sobre presença e ausência de pegadas ao longo de transectos pré-determinados. No total foram registradas 29 espécies de mamíferos de médio e grande porte, das quais Dasyprocta azarae Lichtenstein, 1823 e Sylvilagus brasiliensis (Linnaeus, 1758) foram as espécies com maior número de registros. No que se refere a Carnivora, Nasua nasua (Linnaeus, 1766) e Leopardus pardalis (Linnaeus, 1758) tiveram os maiores índices de registro, enquanto Leopardus tigrinus (Schreber, 1775), Leopardus wiedii (Schinz, 1782) e Galictis cuja (Molina 1782) os menores. Entre os ungulados apenas Pecari tajacu (Linnaeus, 1758) mostrou-se freqüente, sendo a quarta espécie em número de registros. Algumas espécies comuns em outros ambientes apresentaram baixos índices de registro no Parque Estadual do Turvo, tais como Dasypus novemcinctus Linnaeus, 1758 e Didelphis albiventris Lund, 1840. Finalmente, constata-se a provável extinção local de Tayassu pecari (Link, 1795), uma vez que não foram obtidos registros de sua presença ao longo do estudo. A conservação dos mamíferos de médio e grande porte do Parque está fortemente associada à preservação do "Corredor Verde de Misiones", que provavelmente representa uma área fonte para diversas espécies.
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SHOCKLEY, F. W., K. W. TOMASZEWSKA, and J. V. MCHUGH. "An annotated checklist of the handsome fungus beetles of the world (Coleoptera: Cucujoidea: Endomychidae)." Zootaxa 1999, no. 1 (February 4, 2009): 1–113. http://dx.doi.org/10.11646/zootaxa.1999.1.1.
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A worldwide checklist is provided for the family Endomychidae (Coleoptera: Cucujoidea). An updated subfamilial classification is presented, based on recent higher-level phylogenetic analyses and incorporating many recently described taxa. At present, Endomychidae contains 1782 valid species and subspecies in 130 genera organized into 12 subfamilies. Two new synonyms are recognized: Symbiotes latus Redtenbacher, 1849 = Symbiotes latus var. roberti Falcoz & Roman, 1930 syn. nov.; and Cholovocerida Belon, 1884 = Displotera Reitter, 1887b syn. nov. Two new combinations are proposed: Cholovocerida ecitonis (Wasmann, 1890) for Coluocera ecitonis Wasmann, 1890 comb. nov.; and Cholovocerida maderae (Wollaston, 1854) for Cholovocera maderae Wollaston, 1854 comb. nov. Loeblia ceylanica Dajoz, 1972a is here designated as the type species for Loeblia Dajoz, 1972a, and Rhymbus hemisphaericus Gerstaecker, 1858 is designated as the type species for Rhymbus Gerstaecker, 1858. Nomen nudum status is proposed for Mycetaea tafilaletica Smirnoff, 1957. Thirty-two species originally described under Corynomalus Chevrolat, 1836 and subsequently transferred to Amphix Laporte, 1840, have been returned to Corynomalus. Known fossil taxa are summarized.
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Smirnova, Irina. "Philaret, Metropolitan of Moscow and the Russian Church Policy in the Eastern Siberia." Przegląd Wschodnioeuropejski 8, no. 1 (June 1, 2018): 45–58. http://dx.doi.org/10.31648/pw.3602.
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The article is devoted to the Church policy of the Russian Orthodox Church in Eastern Siberia and the Far East with the participation of the Metropolitan of the Moscow Philaret (Drozdov, 1782–1867). Until recently historians did not focus their attention on “Asian” perspective of his activities, though there is an extensive historiography devoted to Moscow prelate. The most important aspects of the missionary activity of the Russian Orthodox Church in Eastern Siberia during the 1810s – 1860s are considered on the basis of materials from Russian archives (RSHA, St. Petersburg) and the little-known documentary sources. Particular attention is paid to the fate of the British Ecclesiastical Mission (1818–1840) and the development of Orthodox missionary work in the Trans-Baikal region, the missionary work of St. Innocent (Veniaminov) in the Far East, the Russian Church policy in the Amur and Primorye regions after the Crimean War (1853–1856), the reorganization of the Russian Ecclesiastical Mission in Beijing (1860–1864). The role of the Metropolitan Philaret in the Russian Church diplomacy in the Far East is studied in the context of Russian-Chinese relations in the mid-Nineteenth Century.
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Sarras, Michael P., and Rainer Deutzmann. "Hydra and Niccolo Paganini (1782-1840)?two peas in a pod? The molecular basis of extracellular matrix structure in the invertebrate,Hydra." BioEssays 23, no. 8 (2001): 716–24. http://dx.doi.org/10.1002/bies.1101.
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Perry, Jeffrey. "Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1." 19th-Century Music 27, no. 3 (2004): 208–29. http://dx.doi.org/10.1525/ncm.2004.27.3.208.
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Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is an aesthetic of distance; the questive voice is a means of traversing the immensity that is the one essential feature of early Romanticism in its incarnations. This immensity manifests itself in the wide registral space opened and explored in the Caprices; in the motivically driven, asymmetrical construction of many passages found therein; and in the extensive harmonic reach of many of the Caprices. This article presents close readings of Caprices nos. 1, 2, 4, 9, and 10, drawing on Schenkerian methodologies and work by Ratner, Caplin, and Burnham to articulate the lyrical/questive dichotomy and interplay between technique and expression in these singular works by a singular composer.
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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (May 2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.
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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not lacking in foresight, however, about the way in which such a claim would enhance their subject's credibility. The value of such a sulphurous reputation for a musician is not merely a recent phenomenon but also has historical precedents. A hundred years before Johnson (who lived 1911–1938), the guitarist and violinist Niccolo Paganini (1782–1840) was considered such a suspiciously devilish virtuoso that his audiences were reputed to cross themselves before his concerts in hope of protection from subtle demonic influence. One audience member even fled a concert after reporting seeing the Devil himself aiding Paganini's performance. Going a little further back, Giuseppe Tartini (1692–1770) explained of his best-known sonata, The Devil's Trill (1713), that he had ‘written down the piece after waking from a particularly vivid dream of the Devil playing a violin with ferocious virtuosity’, and claimed that it was ‘but a shadow of what he had witnessed in the dream, for he was unable to capture on the page the Devil's full intensity’. His long career was certainly not harmed by this youthful excursion into Hell.
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Bochkov, Andre V., and Michel P. Valim. "New species and records of mites of the superfamily Sarcoptoidea (Acariformes: Psoroptidia) from mammals in Brazil." Acta Parasitologica 61, no. 1 (January 1, 2016). http://dx.doi.org/10.1515/ap-2016-0003.
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AbstractSixteen species of the superfamily Sarcoptoidea (Acariformes: Psoroptidia) belonging to 10 genera of the families Atopomelidae, Listrophoridae, Chirodiscidae, and Listropsoralgidae are recorded in Brazil. Among them, three species, Prolistrophorus hylaeamys sp. nov. from Hylaeamys laticeps (Lund, 1840) (Cricetidae: Sigmodontinae) from Minas Gerais, Lynxacarus serrafreirei sp. nov. from Galictis cuja (Molina, 1782) (Carnivora: Mustelidae) from Rio de Janeiro (Listrophoridae), and Didelphoecius micoureus sp. nov. (Atopomelidae) from Micoureus paraguayanus (Tate, 1931) (Didelphimorphia: Didelphidae) from Minas Gerais are described as new for science. Three species of the family Listrophoridae, Prolistrophorus bidentatus Fain et Lukoschus, 1984 from Akodon cursor (Winge, 1887) (Rodentia: Cricetidae) (new host), Prolistrophorus ctenomys Fain, 1970 from Ctenomys torquatus Lichtenstein, 1830 (Rodentia: Ctenomyidae) (new host), and Leporacarus sylvilagi Fain, Whitaker et Lukoschus, 1981 from Sylvilagus brasiliensis (Linnaeus, 1758) (Lagomorpha: Leporidae) (new host) -from Minas Gerais and Rio Grande do Sul, and one species of the family Chirodiscidae, Parakosa tadarida McDaniel and Lawrence, 1962 from Molossus molossus (Pallas, 1766) (Chiroptera: Molossidae) are recorded for the first time in Brazil. The previously unknown female of Didelphoecius validus Fain, Zanatta-Coutinho et Fonseca, 1996 (Atopomelidae) from Metachirus nudicaudatus (Geoffroy, 1803) (Didelphimorphia: Didelphidae) from Minas Gerais is described. All data on host-parasite associations of sarcoptoids in Brazil are summarized. Totally, 61 sarcoptoid species of 8 families are recorded in Brazil.
Dissertations / Theses on the topic "1782-1840"
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Rybicki, Marie-Hélène. "Le mythe de Paganini dans la presse et la littérature." Paris 4, 2004. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2932-3.
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Notre étude est consacrée à la présence de Paganini dans la presse et la littérature de son temps. Nous examinons comment, en Italie, en France en Allemagne et en Angleterre, ce musicien exceptionnel devient personnage de fiction et quelle influence cette "entrée en littérature" exerce sur la représentation des musiciens dans les romans et nouvelles du XIXe siècle. Après avoir retracé le parcours du violoniste, nous nous penchons sur la manière dont ses faits et gestes sont relatés dans la presse et exposons les polémiques que la technique paganinienne entraîne. Nous analysons ensuite les images et les moyens stylistiques mis en oeuvre par les chroniqueurs pour appréhender le "phénomène Paganini". La seconde partie traite de la manière dont Paganini apparaît dans les textes littéraires qui lui sont consacrés. Derrière les personnages auxquels Paganini prête ses traits et son caractère se dégage un portrait-robot du "virtuose romantique" tel que l'époque le plébiscite, artiste que se distingue subrepticement des musiciens hoffmanniens qui lui servent de modèle. L'étude des nouvelles révèle en outre que le virtuose génois s'efface progressivement du premier plan du récit pour céder la place à un musicien déchu. Cette dimension tragique et ironique, qui prend le pas sur la vision magnifiée de l'artiste, amorce une tendance qui s'affirmera dans la seconde moitié du XIXe siècle. La présence de Paganini dans la littérature de son temps contribue également à mettre en évidence la perméabilité existant, à cette époque, entre la presse et la littérature. L'impossibilité d'établir une distinction franche entre le traitement journalistique et le traitement littéraire du virtuose constitue un facteur décisif pour l'élaboration du "mythe de Paganini"This study is devoted to the presence of Paganini in the press and literature of his time. It explores how this exceptional musician became a character in fictional works in Italy, Germany, France and England, and what influence this "literary career" had on the representation of musicians in novels and short stories during the nineteenth century. The first part of this study begins with a review of the main events in Paganini's life then focuses on the way in which his actions are recounted in the press, revealing the controversies provoked by the violinist's technique. There follows an analysis of the images and stylistic methods adopted by the chroniclers and columnists to convey their impressions of the "Paganini phenomenon". The second part of this study looks at the image of Paganini as it appears in the various literary texts devoted to him. By attributing Paganini's features and his personality to fictional characters, the authors drew the profile of a "romantic virtuoso", which corresponded to the taste of the public of that time - the figure of an artist who surreptitiously distinguished himself from the musician encountered in the works of E. T. A. Hoffmann who served as his model. Moreover, the short stories reveal how the Genoese virtuoso gradually withdrew from the foreground of the narrative to be replaced by the figure of a failed musician. This tragic and ironic dimension, which overrides the idealised vision of the artist, marks the beginning of a trend that established itself in the second half of the nineteenth century. The presence of Paganini in the literature of his time also reveals the permeability of the press and literature at that time. The fact that it is impossible to distinguish clearly between the journalistic and literary treatment of the virtuoso had a major impact on the constitution of the "myth of Paganini"
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Kim, Warren. "Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609093/.
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Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.
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Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.
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Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernésIn the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors
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Dillard, Eguchi Patricia. "Satire du matérialisme dans le roman féminin britannique de 1778 à 1824 : Fanny Burney, Jane Austen, Suzan Ferrier." Phd thesis, Université d'Orléans, 2011. http://tel.archives-ouvertes.fr/tel-00690631.
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De fortes contraintes juridiques, morales et coutumières pesaient sur les femmes de la fin du " long " 18ème siècle en Grande Bretagne. Les écrits féminins s'en ressentaient autant du point de vue des stratégies littéraires que de l'intrigue. Pour contourner les interdits et les tabous dont l'écriture féminine devait tenir compte, certaines romancières eurent recours à une satire ingénieuse qui ridiculisait les travers d'une société qui leur interdisait le sens critique. L'étude du contexte permet de faire la lumière sur le pourquoi et le comment de leurs stratégies satiriques. C'était l'époque des Lumières anglaises et écossaises, du début de la Révolution Industrielle et de la formation des classes moyennes. L'économie s'épanouissait et requérait une première " consommation de masse ". Synecdoques de la femme à vendre ou qui cherche à l'être, l'objet et l'argent sont les deux aspects d'analyse critique qui sous-tendent la structure de ce travail. La théorie de la re-création esthétique à la réception de Wolfgang Iser sert à souligner l'écart de réception possible entre le lecteur d'alors et celui de nos jours, et ensuite à susciter, investigations dans le contexte à l'appui, une émotion nouvelle à la lecture de ces ouvrages vieux de deux siècles. La théorie de la consommation de Baudrillard est choisie parce qu'elle facilite une compréhension de certains comportements autour de l'objet de personnages satirisés dans les romans.
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Davenport, Andrew Russell. "Paganini's 24 Caprices opus 1 : a transcription for electric guitar, and analysis and development of the techniques required to perform them : a thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand." 2008. http://hdl.handle.net/10179/713.
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Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task has been to ascertain whether a ‘technical essence’ could be discovered in the Caprices and how that could be imparted in the process of transcription. Transcribing the 24 Caprices for the electric guitar disclosed the technical components required for development which were then reduced to their constitute elements. The virtuosity and variation within the Caprices ensured that the each identified technique was developed to a high degree. The subjective nature of transcription ensured that multiple solutions were explored when a single solution to a technical problem was not obvious. The analysis section of the study demonstrated that three fundamental techniques were required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and pull-offs. The analyses also provided trends showing how each technique needed to be developed to comprehensively cover all twenty-four pieces. In conclusion, the hypothesis was found to be correct.
Books on the topic "1782-1840"
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Dark fiddler: The life and legend of Nicolò Paganini. Mankato, MN: Creative Editions, 2008.
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Musical life in Biedermeier Vienna. New York, NY: Cambridge University Press, 1988.
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Piet, Mary A. Early Catholic church records in Baltimore, Maryland, 1782 through 1800: From the original records of "Old St. Peter's Pro-Cathedral," baptisms, 1782 through 1800, marriages, 1783 through 1800, burials, 1783 through 1800. Westminster, Md: Family Line Publications, 1989.
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Fetis, Francois J. Biographical Notice of Nicolo Paganini. Ams Pr Inc, 1988.
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Paganini, Niccolo. La Campanella (Kalmus Edition). Alfred Publishing Company, 1985.
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Jean-Bernard, Condat, Imbert de Laphalèque Georges, Guibal du Rivage, Alexandre, b. 1775., and Fétis François-Joseph 1784-1871, eds. Nicolò Paganini, 1782-1840: Musicien, magicien, ou mutan[t] de marfan? Paris: Libr. Honoré Champion, 1990.
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Paganini: The 'demonic' virtuoso. Boydell Press, 2013.
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Early Journals and Letters of Fanny Burney, 1782-1783. McGill-Queen's University Press, 2012.
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Hanson, Alice M. Musical Life in Biedermeier Vienna. Cambridge University Press, 2009.
Find full textBook chapters on the topic "1782-1840"
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Wordsworth, William, and Dorothy Wordsworth. "1782. W. W. to John North." In The Letters of William and Dorothy Wordsworth, Vol. 7: The Later Years: Part IV: 1840–1853 (Second Revised Edition), 532. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00084971.
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Goldstein, Jonathan. "Nathan Dunn (1782–1844) as Anti-Opium China Trader and Sino-Western Cultural Intermediary." In The Private Side of the Canton Trade, 1700-1840. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390939.003.0007.
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American trader Nathan Dunn’s experience as a private China trader shows that one individual can indeed make a difference. A practicing Quaker who refused to buy or sell opium, Dunn pioneered innovative trading strategies while championing a mercantile code that was unusual for his day. At a time when few Americans regarded the opium trade as inappropriate, he showed that it was possible to succeed in the Canton Trade without dealing in opium. Dunn was also a dedicated educator of Chinese culture. He seems to have found his life’s purpose in bringing an understanding of China to English-speaking audiences. Unlike virtually all of his contemporaries except for Robert Waln Jr., his aim was not to trade and get wealthy purely for the sake of personal aggrandizement. Rather, it was to become a self-educated, self-proclaimed advocate for China in the United States and later in the United Kingdom. The wealth that he gained through trade provided funds needed to realize his higher calling. In addition, he was arguably the pioneer of Sinological museology and ethnology in both the United States and Europe. Because of the earnestness and thoroughness of his quest, he elevated both sciences beyond the level of randomly collecting ‘cabinets of curiosities’. Shortly after he established a ‘Chinese Museum’ in Philadelphia in 1838, several other similar museums appeared in America and England, although none were as focussed and all-encompassing or as positively inclined as his.