Academic literature on the topic '1798-1869'

The Reverend Charles Grenfell Nicolay (1815-1897) made an important contribution to early geological work in Western Australia as a scientific adviser to the Colonial government and founder of the Colony's first public collection of rocks, minerals and fossils. During his early career he taught geography at King's and Queen's Colleges in London, before leaving London in 1858 to serve as the Anglican Church Chaplain to the British residents in the city of Salvador, Bahia, Brazil. We describe here some of his geological activities in Brazil over the period 1858-1869. He assisted Charles Frederick Hartt (1840-1878) and Louis Agassiz (1807-1873) on the Thayer Expedition of 1865-1866 in their geological investigations of the province of Bahia, most notably providing geological descriptions of the diamond deposits of the Chapada Diamantina, then a diamond province of world importance. After returning to England, he presented his findings on the Chapada Diamantina to the British Association for the Advancement of Science meeting in Norwich in 1868. From May to August 1869, he made a brief return visit to Brazil acting as a geological advisor to the Brazilian Turba Company, who were hoping to exploit bituminous sedimentary deposits adjacent to the Bahia de Camamu, Bahia, in the production of oil and gas. Following his arrival in Western Australia, he corresponded with the Reverend William B. Clarke (1798-1878), in 1871-1872, on the subject of Brazilian diamonds, as Clarke sought to understand the diamond occurrences in eastern Australia. Through Clarke, Nicolay's description of the geology of the Chapada Diamantina was circulated to the Australian scientific community.

The ArgumentCarl Gottfried Neumann was born in Königsberg, Prussia, in 1832 and died in Leipzig in 1925. His father was the physicist Franz Neumann (1798–1895), notable for his contributions not only to the study of electricity and magnetism but also to the development of physics education in nineteenth-century Germany. Carl Neumann studied at the University of Königsberg and received his doctorate in 1855 with a work on the application of elliptic integrals to mechanics (Neumann 1856). In 1858 he became Privatdozent, and in 1863 Professor of Mathematics at Halle. Later that same year he moved to Basel, and in 1865 he became Ordinary Professor of Mathematics at Tübingen. Finally in 1868 he was appointed Professor of Mathematics at Leipzig, a post he held until he retired in 1911; of the two mathematics professorships at Leipzig, this was the one formerly held by F. A. Möbius, and it was officially devoted to “the higher mathematics, especially physics” (quoted in Jungnickel and McCormmach 1986, 1:181). So Neumann's academic career, along with his role as one of the founding editors of the Mathematische Annalen beginning in 1869, can be seen as reflecting the enormous advance in mathematical sophistication that German physics underwent in the latter part of the nineteenth century.

Kościół p.w. Imienia Najświętszej Maryi Panny w Mińsku, wybudowano w latach 1700-1710, jako kościół klasztorny jezuitów. Po kasacie zakonu, został przekazany parafii. W 1797 r. budynek kościoła strawił pożar. Rok później świątynia wyznaczona została na katedrę utworzonej wówczas diecezji, ze stolicą w Mińsku. Odbudowana w latach 1798-1803 dzięki staraniom i funduszom bpa Jakuba Ignacego Dederki. W 1869 r. na skutek likwidacji diecezji, ponowie został zdegradowany do siedziby parafii. W listopadzie 1917 r. po reaktywowaniu diecezji mińskiej, kościół odzyskał rangę katedry. Jednak już w 1934 r. został odebrany wiernym. Zamknięty przez bolszewików, do 1941 r. był wykorzystywany jako garaż. Drugą wojnę światową przetrwał w stanie nienaruszonym, ale po wyzwoleniu przestał funkcjonować jako miejsce kultu. W 1947 r. władze sowieckie przekazały budynek na potrzeby klubu sportowego „Spartak”. W latach 1948-1951 kościół przebudowano na salę sportową. W 1982 r. przygotowano projekt jego restauracji, przeznaczając budynek na salę muzyki organowej i chórowej. W 1993 r. kościół katedralny powrócił do wiernych. W 1997 r. odbyły się uroczystości rekonsekracji świątyni. Aktualnie dawny pojezuicki kościół pełni rolę archikatedry, głównej świątyni archidiecezji i metropolii mińsko-mohylewskiej. Prezentowany protokół lustracji katedry mińskiej powstał w 1829 r., w ramach wizytacji metropolitalnej prowadzonej na obszarze archidiecezji mohylewskiej w latach 1828-1831 z mandatu abpa Kaspra Kazimierza Cieciszowskiego. Dokument jest przechowywany w Narodowym Archiwum Historycznym Białorusi w Mińsku (ros. Национальный исторический архив Беларуси), w zespole zatytułowanym „Mohylewski Rzymsko-Katolicki Duchowny Konsystorz” (ros. Могилевская р.-к. духовная консистория) pod sygnaturą: fond. 781, op. 27, sp. 427. Spisany został w języku polskim, całość zaś liczy 12 kart zapisanych dwustronnie. Edycję źródła przygotowano zgodnie z zasadami sformułowanymi w instrukcji wydawniczej dla źródeł historycznych od XVI do połowy XIX wieku, autorstwa K. Lepszego, wydanej w 1953 r. w Warszawie.

The numismatic collection of the Banat Museum in Timişoara includes two rare bronze medals dedicated to members of the well known Weifert family from Pančevo (Serbia). One is a medal dedicated to Ignaz Weifert on his 64th anniversary by his son Georg Weifert, crafted by the Austrian engraver Anton Schar (1845 – 1903). The second one is dedicated to Georg Weifert on his 44th anniversary, created by the Austrian engraver Franz Xaver Pawlik (1865 – 1906). They were purchased in 1907 by the Banat Museum from Fejér József, antiquarian in Budapest, for the sum of 22 crowns. The medals were given inventory numbers 731 and 732 in the old register of the collections. The medal dedicated to Ignaz Weifert (1826 – 1911) is made of bronze, patinated (55.5 mm; inventory no 136; Pl. I.1 – 2). It is generally but wrongly dated in 1870. Given the marked date (MDCCCLXX), one considers that it had been realized on the occasion of Ignaz Weifert’s 20th year of industrial activity. Actually, one thousand eight hundred seventy represents the year of establishment for the Weifert brewery in Belgrade. There are several arguments in favor of a correct dating of the coin (i.e. 1890): the age of Ignaz Weifert, marked on the obverse of the medal (LXIV), as he fulfilled 64 in the year 1890. Secondly, the medal is mentioned among the works of the engraver Anton Schar from 1890 (in the same year Schar had also realized a plaque, 136 mm in diameter, with the portrait of Ignaz Weifert). More so, Felix Milleker affirmed in his study on the Weifert family that in December 1890 Georg Weifert dedicated a medal to his father Ignaz, crafted by the Austrian engraver Anton Schar (Milleker 1925, 11).The second medal, dedicated to Georg Weifert (1850 – 1937) on his 44th anniversary is made of bronze, has 52.2 mm in diameter (inventory no 84; Pl. III.1 – 2) and was created by Franz Xaver Pawlik in 1894. The same engraver had molded a medal dedicated to Ignaz and Georg Weifert in 1903, in two variants: 25 mm and 140 mm in diameter. We know about the existence of a 25 mm medal as part of a private collection in Timişoara. Originally from north Austria, the Weiferts settled in Banat during the first half of the 18th century, initially in Vršac, where from a certain Georg Weifert (1798 – 1887) moved to Pančevo. Here he became one of the prominent local merchants and, from 1841, the owner of the brewery (established in 1722). In 1849 the elder son of Georg, Ignaz Weifert (Ignjat Vajfert in Serbian) assumed the control of the brewery, after previously following a course of beer making in Munich (Bavaria). After expansion and modernization, the family business thrived and the Weifert brewery in Pančevo became one of the most important enterprises of the kind from Banat (Pl. II.1). In 1870 Ignaz expanded the business by building a new brewery in Belgrade, first in Serbia in time, on the Smutekovac Hill (nowadays Topčider). His son, Georg Weifert (Đorđe Vajfert in Serbian) took over its control in 1872. The Weifert brewery from Pančevo remained in care of Ignaz and his son Hugo. The one to become General Governor of the National Bank of Serbia, mighty industrialist and pioneer of modern mining in Serbia, Georg Weifert (Pl. IV) was born on June 15, 1850 in Pančevo. After elementary and secondary studies in Pančevo, he studied at the Commercial School in Budapest. Between 1869 and 1872 he followed the technology courses in brew at the Agricultural School in Weihenstephan, near Munich. He was 22 when he took his father’s brewery from Belgrade, which he modernized and turn into one of the most largest and modern of its kind from the Balkans (Pl. II.2). The Weifert beer became the most sought beer in Serbia. As one of the most rich and inuential person in Serbia, he is remembered as a great philanthropist, Maecenas for numerous institutions, cultural and charitable societies. He was awarded the highest Serbian and also French, Romanian or other orders. For decades he held the most important positions in the Serbian and Yugoslav Masonic lodges. He was married to Marie Gassner but had no ospring. In 1923, on the occasion of celebrating 50 years of marriage, he financed the building of St. Ana Church in Pančevo, in memory of his mother Anna. In the same year he was elected honorary citizen of his home city. He died aged 87 on January 12, 1937, at his villa on Vojvode Putnika Street. He was buried on January 16 in the Catholic cemetery in Pančevo, left of the portal built in 1924 on his expenses. The name Weifert is also associated with the well-known numismatic collection owned by this family, of which three members were passionate collectors: Ignaz and his sons, Hugo and Georg. The one who settle the collection (around 1878) was Hugo (1852 – 1885). After his early death in 1885, aged only 33, the collection passed to his father Ignaz, who continued to gather coins. In 1911, after the death of Ignaz, the numismatic collection passed to Georg Weifert. All three of them had been members of the Numismatic Society in Vienna: Hugo from 1879, Ignaz from 1885 and Georg from 1889. Although the members of Weifert family collected all kind of Greek and Roman coins, it seems that Hugo was the one passionate for medals concerning Belgrade, Ignaz paid special attention to Viminacium issued coins while Georg was interested in 4th century AD Roman coins. The numismatic collection held antique coins: Greek, Celtic and Roman, Byzantine coins, medieval Serbian ones, taler from Central Europe, medals concerning Belgrade etc. The Republican and Imperial Roman coins dated to 1st – 5th c. AD compose the largest part of the collection, including numerous rarities. There are also Roman colonial coins issued by the cities in the Balkans, especially Viminacium and from Asia Minor. Today we hold no longer information on the ending place of these coins, except for the golden Late Roman solidi found in the spring of 1879 near Borča, that are to be considered among the most valuable pieces of the collection. The PMS COL VIM type coins, issued between 239 and 255 AD in Viminacium (today Stari Kostolac, Serbia) are also important, although the collection does not comprise the complete series and all the variants. One can notice the interest of the Weiferts in collecting this monetary type and the existence of a special relation of the Weifert family with the area of the antique Viminacium (Kostolac). The first coins that entered the Weifert collection came from this area, where Georg held a coal mine and locals often brought him coins for his collection. In two cases, both on the medal dedicated to Georg Weifert in 1894 and on the one dedicated to Ignaz and Georg Weifert in 1903 (the 25 mm variant), realized by Pawlik, there are representations of reverse type of the Roman coins of PMS COL VIM type. The Weifert numismatic collection had been aected by the turmoil of WW I. The rare golden coins held in Belgrade were saved by Georg and taken to France. The rest of the numismatic collection, held in Pančevo, was taken to Vienna by his nephew Adolf Gramberg, where from it came back in 1925, completely disorganized. Unfortunately, the collection of medieval Serbian coins and medals concerning Belgrade that could not be saved disappeared during the war. Georg Weifert donated this valuable collection holding over 14,000 antique coins to the University of Belgrade on September 9, 1923. It had been taken over only in 1929 by Professors Miloje M. Vasić and Nikola Vulić, as representatives of the University, following its arranging by Balduin Saria, custodian of the National Museum in Belgrade and Georg Elmer, a nephew of Hugo Weifert, custodian of the Numismatic Cabinet of Kunsthistorisches Museum in Vienna. After World War II, the Weifert numismatic collection had been handed over to the National Museum in Belgrade, where is kept today.This donation made by Georg Weifert was not a singular act. Ignaz Weifert had donated over time numerous coins, antiquities and maps to the High Gymnasium in Pančevo and the Museum in Vršac. Georg had also donated in 1931 his collection of historic documents (photographs, lithographs, plans and maps) to the City Museum of Belgrade. The medals from the collection of the Banat Museum in Timişoara dedicated to the Weiferts are a testimony for a family that played an important role in the economical history of Banat and Serbia. Its name remains associated with a beer brand especially appreciated over time and for the numismatists with one of the most important collections from the end of the 19th century and beginning of the 20th century.

À l’origine de la présente étude se trouve l’invocation par Michel Houellebecq des lectures dix-neuvièmistes qui ont marqué sa jeunesse ainsi que sa nette opposition à des écrivains du XXe siècle auxquels il préfère les écrits du XIXe siècle. Notre intérêt a été suscité par ses constantes références et allusions à des noms tels Balzac, Zola, Huysmans, Auguste Comte, Schopenhauer, Nietzsche, Lamartine, Baudelaire. Qu’ont-ils à lui dire ? Si Michel Houellebecq s’oriente vers cette période du passé, c’est parce qu’elle coïncide avec les premières protestations antimodernes contre la froideur du libéralisme, du capitalisme, de l’esprit irréligieux, c’est-à-dire contre les trois maux responsables de l’ébranlement de la structure sociale (post)moderne. La première partie de notre analyse comparative introduit les romans de Houellebecq dans le tissu du réalisme - en écho à Balzac -, du naturalisme - en référence à Zola -, du décadentisme - en évoquant Huysmans. La deuxième a pour fil conducteur les raisonnements philosophiques d’Auguste Comte, de Schopenhauer et de Nietzsche dont Houellebecq nourrit ses jugements au sujet de l’amour et de la religion, sous l’emprise d’un ressentiment tantôt discret, tantôt criard. La dernière partie intervient également sur le territoire de la poésie houellebecquienne. En écho à Lamartine et à Baudelaire nous découvrirons un Houellebecq éclairé par une sensibilité qu’il manie dans des projets prophétiques à portée utopique ou dystopique. Son œuvre appartient certainement à la tradition littéraire postmoderne, mais elle a bien le mérite de revaloriser les voix des romantiques et premiers témoins des temps modernes
At the origin of this study lies the invocation by Michel Houellebecq of the nineteenth-century readings that marked his youth and also his clear opposition to writers of the XXth century to whom he prefers the writings of the XIXth century. Our interest was aroused by his constant references and allusions to names such as Balzac, Zola, Huysmans, Auguste Comte, Schopenhauer, Nietzsche, Lamartine, Baudelaire. What do they have to say to him? If Michel Houellebecq moves towards this period of the past, it is because it coincides with the first anti-modern protests against the coldness of liberalism, of capitalism, the irreligious spirit, that is against the three evils which are responsible for the disruption of the (post)modern social structure.The first part of our comparative analysis introduces the novels of Houellebecq into realism - an echo to Balzac -, to naturalism - in reference to Zola, relating to decadence - evoking Huysmans. The second is the thread of philosophical reasoning of Auguste Comte, Schopenhauer and Nietzsche, of which Houellebecq feeds his judgments about love and religion, under the influence of a resentment sometimes discreet, sometimes sharp. The last part also enters on the territory of the Houellebecq poetry. In echo to Lamartine and Baudelaire we will discover a Houellebecq enlightened by a sensitivity that he uses in prophetic projects with utopian or dystopian reach. His work certainly belongs to the postmodern literary tradition, but it has the merit of revalorizing the voices of the romantics and the first witnesses of modern times

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.