Journal articles: 'Garde nationale History'

1

Genty, Maurice. "Controverses autour de la Garde Nationale parisienne." Annales historiques de la Révolution française 291, no. 1 (1993): 61–88. http://dx.doi.org/10.3406/ahrf.1993.1543.

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Crépin, Annie. "Roger Dupuy, La Garde nationale 1789-1872." Annales historiques de la Révolution française, no. 367 (March 1, 2012): 231–33. http://dx.doi.org/10.4000/ahrf.12390.

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3

Devenne, Florence. "La garde Nationale ; création et évolution (1789-août 1792)." Annales historiques de la Révolution française 283, no. 1 (1990): 49–66. http://dx.doi.org/10.3406/ahrf.1990.1411.

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Dröber, Axel. "Mathilde LARRERE, L’urne et le fusil. La garde nationale parisienne de 1830 à 1848." Revue d'histoire du XIXe siècle, no. 52 (June 1, 2016): 206–7. http://dx.doi.org/10.4000/rh19.5019.

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Blanchard, Emmanuel. "La Garde nationale « introuvable ». La formation de l’ordre urbain en situation coloniale (Algérie, 1830-1852)." Revue d'histoire du XIXe siècle, no. 50 (July 1, 2015): 39–56. http://dx.doi.org/10.4000/rh19.4819.

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Horn, Jeff. "« Qui nous protégera de la garde nationale ? » : le conflit ruralo-urbain dans le département de l'Aube." Annales historiques de la Révolution française 323, no. 1 (2001): 57–68. http://dx.doi.org/10.3406/ahrf.2001.2634.

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Horn, Jeff. "« Qui nous protegera de la garde nationale ? » : Le conflit ruralo-urbain dans le departement de l’aube." Annales historiques de la Révolution française, no. 323 (March 1, 2001): 57–68. http://dx.doi.org/10.4000/ahrf.321.

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Crépin, Annie. "Armée, conscription et garde nationale dans l'opinion publique et le discours politique en France septentrionale (1789-1870)." Revue du Nord 350, no. 2 (2003): 313. http://dx.doi.org/10.3917/rdn.350.0313.

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9

Gantelet, Martial. "Serge Bianchi et Roger Dupuy (dir.), La Garde nationale entre nation et peuple en armes. Mythes et réalités, 1789-1871." Annales historiques de la Révolution française, no. 354 (December 1, 2008): 239–40. http://dx.doi.org/10.4000/ahrf.10969.

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10

Lignereux, Aurélien. "Roger DUPUY, La Garde nationale, 1789-1872, collection Folio Histoire, Paris, Gallimard, 2010, 606 p. ISBN : 978-2-07-034716-2. 11." Revue d'histoire du XIXe siècle, no. 43 (November 13, 2011): 159–61. http://dx.doi.org/10.4000/rh19.4176.

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Lignereux, Aurélien. "Mathilde Larrère, L’urne et le fusil. La garde nationale parisienne de 1830 à 1848, Paris, PUF, 2016, 329 p." Histoire urbaine 53, no. 3 (2018): VII. http://dx.doi.org/10.3917/rhu.053.0205.

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Bouchet, Thomas. "Mathilde Larrère, L’urne et le fusil. La garde nationale de Paris de 1830 à 1848, Paris, PUF, 2016, 329 p., ISBN 978-2-13-062168-3." Revue d’histoire moderne et contemporaine 64-2, no. 2 (2017): 234. http://dx.doi.org/10.3917/rhmc.642.0234.

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13

Caron, Jean-Claude. "Serge Bianchi et Roger Dupuy [dir.], La Garde nationale entre nation et peuple en armes. Mythes et réalités, 1789-1871, Rennes, Presses universitaires de Rennes, 2006, 561 p. ISBN : 2-7535-0235-8. 24 euros." Revue d'histoire du XIXe siècle, no. 35 (December 20, 2007): 161–208. http://dx.doi.org/10.4000/rh19.1742.

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Roccati, G. Matteo. "Le Roman de Tristan en prose (version du ms. fr. 757 de la Bibliothèque nationale de France), tome III, De l’arrivée des amants à la Joyeuse Garde jusqu’à la fin du tournoi de Louveserp, édité par Jean-Paul Po." Studi Francesi, no. 143 (XLVIII | II) (December 1, 2004): 332. http://dx.doi.org/10.4000/studifrancesi.38913.

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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.

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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example of a “Dada” poem that comes from an Aboriginal rain dance, as well as the emergence of Dada poetics from the 1950s to the 1970s. Throughout I keep complexities of history and time at the forefront: what is the worth of a “marginal” national literary history of the avant-garde? What does the avant-garde mean outside Europe or the Euro-US? What can Australian Dadaism tell us about the future of avant-garde studies? Does the avant-garde always lead to nostalgia, or “Austalgia,” a hearkening after the past, as much as a striving toward the future?

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16

Austin, David, and Rob Thomas. "A Garden before the Garden: Landscape, History and the National Botanic Garden of Wales." Landscapes 13, no. 1 (June 2012): 32–56. http://dx.doi.org/10.1179/lan.2012.13.1.003.

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17

De Motta, Michael J. "A History of Hawaiian Plant Propagation." Sibbaldia: the International Journal of Botanic Garden Horticulture, no. 8 (November 13, 2010): 31–43. http://dx.doi.org/10.24823/sibbaldia.2010.135.

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The National Tropical Botanical Garden (NTBG) has been a leader in the propagation and cultivation of rare native Hawaiian plants for several decades. The organisation’s work in rare plant conservation started primarily with field research and has evolved into a large-scale nursery operation. The NTBG now produces thousands of plants a year for ex situ conservation, garden collections and restoration projects. Here a number of Hawaiian species are reviewed, and appropriate propagation and cultural methods for each are discussed.

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Hughes, Kate, and Dipak Lamichhane. "The National Botanic Garden of Nepal." Sibbaldia: the International Journal of Botanic Garden Horticulture, no. 15 (December 8, 2017): 9–30. http://dx.doi.org/10.24823/sibbaldia.2017.220.

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The National Botanic Garden of Nepal (NBG) lies 16km south of Kathmandu, at the base of Phulchowki, the highest mountain in the Kathmandu Valley. It was inaugurated in 1962 by King Mahendra and since that time the collections have developed, many of them into named areas and groupings. The year 2016 was the bicentenary of the establishment of diplomatic relations between Nepal and Great Britain, and this was marked in the NBG with the development of a Biodiversity Education Garden. This was created in collaboration with the Royal Botanic Garden Edinburgh (RBGE), and the occasion signified a revitalisation of collaborative relations between the NBG and British botanic gardens which started in the early 1960s with the appointment to NBG of British horticulturists Geoffrey Herklots and, later, Tony Schilling. The history of the garden, its layout and collections, and the activities and outcomes of the recent collaborations are described and illustrated with colour photographs.

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Lymar, Anna. "Ukrainian Paradigm Of Avangard Art In Artistic Creativity." Art Research of Ukraine, no. 21 (November 29, 2021): 43–51. http://dx.doi.org/10.31500/2309-8155.21.2021.254671.

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The study of the Ukrainian aspects of the European avant-garde movement of the first third of the twentieth century became possible with a radical reassessment of values in the late twentieth century. During this period, the term "Ukrainian avant-garde" appeared in Western European art history discourse. The emergence of such a term in Ukraine during the Soviet period was impossible, because creativity was viewed through the prism of socialist realism and nothing else. However, art researchers were aware of the national aspects of the avant-garde. In the Ukrainian academic discourse, the problem of the contribution of domestic artists to the development of the avant-garde begins to become relevant with the acquisition of state independence. The state-building process stimulated the revival of cultural processes and the emergence of scientific interest in the avant-garde. Researchers have studied the problem of conventional and authorial, philosophical and aesthetic foundations of the Ukrainian avant-garde, its artistic and stylistic features, creative and theoretical heritage of artists. For a period of time, avant-garde revolutionary art and political revolution in the first quarter of the twentieth century were united in a single burst of influence on the masses. Avant-garde art for some time became part of the revolutionary process. The Ukrainian paradigm is marked by a territorial feature, the affiliation of artists of eidetic creativity of folk self-expression. With the acquisition of independence, the Ukrainian avant-garde emerged from oblivion and organically entered the national artistic space and became part of Ukrainian art.

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Roberts, John. "After Moscow Conceptualism: Reflections on the Center and Periphery and Cultural Belatedness." ARTMargins 9, no. 1 (February 2020): 47–57. http://dx.doi.org/10.1162/artm_a_00254.

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Conceptual art is not only subject to a striking unevenness and a range of diverse forms across national territories during its emergence, but each national-cultural context in which it emerges is also exposed to the general belatedness of conceptual art’s relationship to its own avant-garde past. Each national-cultural formation was working with, and through, very different cultural and historical materials on the basis of very different kinds of awareness of the avant-garde past and the recent conceptual present. This article addresses this unevenness and belatedness by looking at the case of Moscow conceptualism in the 1970s and 1980s. In a period of post-Thaw and late Soviet ‘stagnation’, conceptual art takes the form in Russia of a generalised apophatic withdrawal from the ‘public sphere’, in which the absences, phlegmatic silences, and textual ambiguities of (some) conceptual art, assume a kind of heightened moral and poetic antipode to the (failed) rhetoric of Stalinist productivism. Yet, despite, its modernist reverence for indeterminancy, this work, nevertheless, retains an active ‘working’ relationship to the avant-garde (collective practice, the critique of the artistic monad). As such, this article examines the active and revenant links of Moscow Conceptualism to the memory of the avant-garde, based on Russian art’s contemporary sense of itself as a once major (revolutionary) centre of avant-garde production.

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21

D'Hollander, Paul. "Les Gardes Nationales en Limousin (juillet 1789-juillet 1790)." Annales historiques de la Révolution française 290, no. 1 (1992): 465–89. http://dx.doi.org/10.3406/ahrf.1992.1521.

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22

Dumont, Lucile. "Literary theorists in and beyond French academic space (1960–1970s)." Sociological Review 68, no. 5 (April 21, 2020): 1108–23. http://dx.doi.org/10.1177/0038026120916119.

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This article demonstrates how social strategies deployed at the margins of French academic space to legitimize theoretical approaches to literary texts (semiology, semantics, structural analysis of narratives) in the 1960s and 1970s strongly relied on the interventions of their promoters beyond the academy. It specifically examines two strategies privileged by promoters of literary theory which allowed some of them to bypass several requirements for academic careers in taking advantage of the transformations of higher education, of the absence of stable and strong disciplinary frames, and of their own integration into the intellectual and literary fields. First, either through the alliance with literary avant-gardes or by the temporary constitution as one, the collective strategy of the literary avant-garde became a way to engage both politically and aesthetically. Second, the investment of transnational networks and internationalization allowed the critics and theorists to get around the national path to symbolic and academic consecration, and to reframe the modalities of their public engagement. Ultimately, this article offers an understanding of how, for aspirant or marginalized academics, interventions beyond the perimeter of the academic space have, at a certain point in French history, helped their acquisition of academic legitimacy.

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23

Fallahi, Esmaeil, Pontia Fallahi, and Shahla Mahdavi. "Ancient Urban Gardens of Persia: Concept, History, and Influence on Other World Gardens." HortTechnology 30, no. 1 (February 2020): 6–12. http://dx.doi.org/10.21273/horttech04415-19.

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The history of Persian gardens goes back to a few millennia before the emergence of Islam in Iran (Persia). Designs of Persian gardens have influenced and are used extensively in the gardens of Al-Andalus in Spain, Humayun’s Tomb and the Taj Mahal in India, and many gardens in the United States and other countries around the globe. Bagh in the Persian language (Farsi) means garden and the word Baghdad (the capital city of Iraq) is rooted from the words bagh and daad (meaning “the garden of justice”). Pasargadae, the ancient Persian capital city, is the earliest example of Persian garden design known in human civilization as chahar bagh or 4-fold garden design. Bagh-e-Eram, or Garden of Eden or Eram Garden, is one the most attractive Persian gardens and is located in Shiraz, Iran. There are numerous other urban ancient gardens in Iran, including Bagh-e-Shahzadeh (Shazdeh), meaning “The Prince’s Garden” in Mahan, Golestan National Park near the Caspian Sea; Bagh-e-Fin in Kashan; Bagh-e-El-Goli in Tabriz; and Bagh-e-Golshan in Tabas. The design of each Persian garden is influenced by climate, art, beliefs, poetry, literature, and romance of the country and the region where the garden is located. In addition, each garden may have a gene bank of fruits, flowers, herbs, and vegetables. Although countless gardens were destroyed in the hands of invaders throughout the centuries, Persians have attempted either to rebuild or build new gardens generation after generation, each of which has become a favorite destination to tourists from around the world.

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Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod." History Research Journal 5, no. 4 (August 29, 2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.

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The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

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Возіанова, Н. Г., Т. В. Крицька, Л. В. Левчук, К. В. Чабан, and Л. П. Осадча. "150-YEAR HISTORY OF THE BOTANICAL GARDEN OF ODESA MECHNYKOV NATIONAL UNIVERSITY." Odesa National University Herald. Biology 22, no. 1(40) (June 29, 2017): 115–29. http://dx.doi.org/10.18524/2077-1746.2017.1(40).105625.

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Barmé, Geremie R. "China's Flat Earth: History and 8 August 2008." China Quarterly 197 (March 2009): 64–86. http://dx.doi.org/10.1017/s0305741009000046.

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AbstractThe opening ceremony of the 29th Olympiad in Beijing was celebrated in China as an opportunity for the country to “tell its story to the world.” This article offers a forensic analysis of that story and how it was created under Party fiat with the active collaboration of local and international arts figures. In a scene-by-scene description of the ceremony, the article also reviews the symbiotic relationship of avant-garde cultural activists and the party-state, a relationship that has continuously evolved throughout the Reform era (since 1978). It also discusses contentious historical issues related to the revival of real and imagined national traditions in the era of China's re-emergence on the global stage.

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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.

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Nikanovich, T. I. "Historical varieties in the rose collection of the Central Botanical Garden of the National Academy of Sciences of Belarus." Proceedings of the National Academy of Sciences of Belarus, Biological Series 67, no. 4 (November 2, 2022): 406–12. http://dx.doi.org/10.29235/1029-8940-2022-67-4-406-412.

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The article contains the information about 29 historical varieties of roses cultivated in the Central Botanical Garden of the National Academy of Sciences of Belarus for more than 50–70 years. They belong to 5 garden groups, including the oldest roses – repairable ones. The plants were described and the morphometric indicators and features of flowering plants in the garden were established. Winter hardiness of varieties in local conditions was estimated. It is noted that such varieties should be preserved in collections, because they not only reflect the history of rose breeding, but also are a valuable gene pool for breeding work.

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Blazheva, Sandra. "Tilt Brush. The New Perspective of Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 209–23. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_016.

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Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. Painting frees itself from the function of reflecting objective reality and seeks new means of expression and meaning. In the early 20th century, new trends in the avant-garde art seek to depict intangible things away from visible reality such as the inner world of the artist, emotions, symbols, music, time and more. One of the brightest trends - Cubism is a typical example. It seeks a way to show objects rationally from several sides simultaneously - three-dimensional, but unfortunately it is limited by the means of expression - the two-dimensional surface of the canvas. Digital technologies today have a solution to this problem. They provide digital tools that completely change painting. The canvas no longer exists in the familiar way in which the artist works. It is becoming history. With the invention of VR glasses, the boundaries of visible reality and imagination in art have been removed to enter a new virtual world. Tilt Brush technology goes one step further, giving the opportunity to the artist to create 3D images with a brush in hand while moving in the virtual world he creates. Canvas doesn’t exist, it is a virtual digital world three-dimensional arising from the imagination of the artist and existing only through the eyes of the pink VR glasses. Here comes the question, will technology displace the artist's hand? Keywords: Digital Art, Art, Virtual Reality (VR), Tilt Brush, Technological Innovations, Net Art, Non-Fungible Tokens (NFT), Artificial Intelligence

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Bergenheim, Sophy. "From Barracks to Garden Cities." Science & Technology Studies 33, no. 2 (May 14, 2020): 120–38. http://dx.doi.org/10.23987/sts.60807.

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This article examines how Väestöliitto, the Finnish Population and Family Welfare League, developed into a housing policy expert during the 1940s and 1950s. Through frame analysis, I outline how Väestöliitto constructed urbanisation and ‘barrack cities’, i.e. an urban, tenement-based environment, as a social problem and how, respectively, it framed ‘garden cities’ as a solution. In the 1940s, Väestöliitto promoted a national body for centralised housing policy and national planning. When the ARAVA laws (1949) turned out to be a mere financing system, Väestöliitto harnessed its expertise into more concrete action. In 1951, together with five other NGOs, Väestöliitto founded the Housing Foundation and embarked on a project for constructing a model city. This garden city became the residential suburb Tapiola. This marked a paradigm shift in Finnish town planning and housing policy, which had until then lacked a holistic and systematic approach. Along the 1940s–1950s, Väestöliitto thus constructed and developed its expertise from an influential interest organisation to a concrete housing policy actor.

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Bloxam, M. Jennifer. "‘La contenance italienne’: the motets on Beata es Maria by Compère, Obrecht and Brumel." Early Music History 11 (October 1992): 39–89. http://dx.doi.org/10.1017/s0261127900001194.

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Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers, our telling of music history is in large part analysis of a continuing process of musical colonialisation.

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Cooke, Glenn R. "Introduction." Queensland Review 19, no. 1 (June 2012): 1–5. http://dx.doi.org/10.1017/qre.2012.1.

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Queensland's heritage city of Maryborough was the focus of the Australian Garden History Society's 32nd Annual Conference, held from 19–21 August 2011. The Society is again delighted to collaborate with Queensland Review to bring the papers from this conference to publication, just as it did with those of the 2003 conference. Maryborough was selected for this event because the city centre is remarkably intact and coherent, and because of the appeal of its numerous charming ‘Queenslander’ houses to Southern delegates. The topics of the conference and the tours organised by the conference committee confirmed Garden History Society chair John Dwyer's opening description of Maryborough, quoted from the Australian National Trust's 1982 Historic Places publication, as ‘one of the four most charming places in Australia’.

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Prochasson, Christophe, and Venita Datta. "Birth of a National Icon. The Literary Avant-Garde and the Origins of the Intellectual in France." Vingtième Siècle. Revue d'histoire, no. 67 (July 2000): 181. http://dx.doi.org/10.2307/3772648.

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Ard, Patricia. "Garbage in the Garden State: A Trash Museum Confronts New Jersey's Image." Public Historian 27, no. 3 (2005): 57–66. http://dx.doi.org/10.1525/tph.2005.27.3.57.

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This essay discusses the Trash Museum which existed in Lyndhurst, New Jersey from 1989 to 1999 and how that institution affected attitudes toward New Jersey. New Jersey's long history of industrial pollution and its myriad garbage dumps had led many to substitute "Garbage State" for "Garden State" as the state's nickname. The museum explained the history of unregulated garbage dumping in the thirty-two-square mile Hackensack Meadowlands area and taught lessons relevant nationally about intelligent garbage disposal. By confronting the worst of its history head on, New Jersey was able to demonstrate to detractors its leadership in garbage disposal and remediation of otherwise ruined lands.

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Lennon, Jane L. "Binna Burra and O'Reilly's: Gardens in the Scenic Rim." Queensland Review 10, no. 2 (November 2003): 117–24. http://dx.doi.org/10.1017/s132181660000338x.

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The gardens of the two settlements in the Lamington National Park – Binna Burra and O'Reillys – are cultural landscapes in a much loved area of the Scenic Rim of Queensland's border with NSW. The concept of cultural landscapes in the World Heritage and national contexts was introduced at the 2002 Australian Garden History Society conference in Hobart. This paper examines the evolution of two gardens within a national park – one evolving from a farm and one designed to accompany a rainforest holiday centre – and the acceptance of cultural values in natural areas.

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Jennings, Jeremy, and Venita Datta. "Birth of a National Icon: The Literary Avant-Garde and the Origins of the Intellectual in France." American Historical Review 105, no. 3 (June 2000): 1026. http://dx.doi.org/10.2307/2651981.

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Kharachko, T. I., and I. M. Skolskyi. "HISTORY AND PRESENT-DAY REALITIES OF THE BOTANICAL GARDEN OF DANYLO HALYTSKY LVIV NATIONAL MEDICAL UNIVERSITY." Scientific Bulletin of UNFU 27, no. 3 (May 25, 2017): 199–202. http://dx.doi.org/10.15421/40270345.

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Polovinkina, O. I. "William Temple’s ‘Sharawadji’ and the poetics of world literature." Voprosy literatury, no. 2 (July 29, 2020): 70–88. http://dx.doi.org/10.31425/0042-8795-2020-2-70-88.

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The article examines the ‘active presence’ (D. Damrosch) of the Chinese garden in the literary and cultural history of the English Augustan Age. Special attention is paid to W. Temple’s role as an intermediary in the comprehension of a foreign cultural phenomenon; interpretations of his description of the Chinese garden generated an entirely new tradition in the English literature of the early 18th c. J. Addison identified the Chinese garden with the idea of harmony, making it part and parcel of Neoclassical aesthetics. Pope followed the same logic. In his essay, Castell brings together the classical and the Chinese traditions, where the former does not act as an approving authority, rather it is the Chinese tradition that helps give it a more nuanced description. Quite a few English country homes display a combination of Neoclassical principles and elements of the Chinese garden, the new landscaping style summarized by Pope. Augustans’ Chinese garden draws on two national worldviews, but just like the world ‘sharawadji’ introduced byTemple, it belongs to the realm of imagination, at the crossroads of languages and cultures, none of which can fully claim it as their own.

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Halbrooks, Mary C. "The English Garden at Stan Hywet Hall and Gardens: Interpretation, Analysis, and Documentation of a Historic Garden Restoration." HortTechnology 15, no. 2 (January 2005): 196–213. http://dx.doi.org/10.21273/horttech.15.2.0196.

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Stan Hywet Hall and Gardens in Akron, Ohio, is a historical estate of national significance. Originally the home of the wealthy Seiberling family in the early 1900s, Stan Hywet Hall and Gardens was designed by renowned Boston landscape architect Warren Manning between 1911 and 1917. In 1915, the English Garden, one of several garden rooms on the estate, was designed by Manning as a walled, hidden garden. Thirteen years later, the garden's style was reconceived and its spatial dimensions restructured by Ellen Biddle Shipman, the foremost among women landscape architects of that time. Historic photographs document the implementation and maintenance of Shipman's design from 1928 to 1946. After 1946, the English Garden, lacking proper maintenance, was transformed into a shady retreat under towering evergreens on its perimeter. Few of the plantings from the Shipman period remained by 1989, whereas the architectural and structuring elements of the garden were still intact. The decision to restore the English Garden to Shipman's planting design provides a highly accurate representation of the garden during a particular period in its history (1928–46). Architectural rehabilitation of the garden's walls, walks, pathways, and pools was followed by an exacting restoration of the plantings according to Shipman's plans. In 1991, restoration of the English Garden was completed and it was opened to the public in 1992. Objectives of this paper are to 1) illustrate and illuminate contemporary historic landscape preservation practice and theory as applied to the English Garden at Stan Hywet Hall and Gardens and 2) document the horticultural methods associated with this historic garden restoration.

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UOI, Natsuko, Makiko WATANABE, and Tomoyoshi MURATA. "Relation between vertical soil compaction and land use history in urban green space: A case study of Kitanomaru Garden, Kokyo Gaien National Garden." Journal of the Japanese Society of Revegetation Technology 39, no. 3 (2013): 412–21. http://dx.doi.org/10.7211/jjsrt.39.412.

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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.

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In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.

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Ehrick, Christine. "Affectionate Mothers and the Colossal Machine: Feminism, Social Assistance and the State in Uruguay, 1910-1932." Americas 58, no. 1 (July 2001): 121–39. http://dx.doi.org/10.1353/tam.2001.0070.

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In 1910, the Uruguayan Public Assistance Law established the concept of universal poor relief, declaring that “anyone … indigent or lacking resources has the right to free assistance at the expense of the state.” Nothing better than this law qualifies Uruguay for its distinction as the ‘first welfare state’ in Latin America. As in other countries, much of the first social assistance legislation targeted poor women and children and relied on elite women for much of its implementation. In the Uruguayan case, the primary intersections between public assistance and private philanthropy were the secular “ladies’ committees” (comités de damas), charitable organizations without direct ties to the Catholic Church. These organizations were also an important catalyst for liberal feminism in Uruguay, whose chronology—from the foundation of the National Women's Council in 1916 through the women's suffrage law of 1932—closely parallels the history of the early Uruguayan welfare state. Following a discussion of the formation of the National Public Assistance and its significance for class and gender politics in Uruguay, this article will summarize the evolving relationship between the Uruguayan social assistance bureaucracy and one of these groups, theSociedad“La Bonne Garde,” an organization that worked with young unmarried mothers. It then discusses how a formal and direct relationship with the state helped make the Bonne Garde and other groups like it a principal point of entry for many elite women in the early phases of Uruguayan liberal feminism. Finally, this article shows how processes set in motion in the 1910s resulted in a relative marginalization of elite women from both state welfare and organized liberal feminism in the 1920s. Through an examination of the history of these ladies’ committees, we gain new insight into both welfare state formation in its earliest Latin American example as well as some of the elements and circumstances which helped shape liberal feminism in Uruguay.

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Suslova, Svetlana V. "Folk Costume traditions in the modern culture of the Volga-Ural Tatars." Historical Ethnology 6, no. 1 (April 21, 2021): 96–105. http://dx.doi.org/10.22378/he.2021-6-1.96-105.

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The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume “Folk Costume”) prepared at the Institute of History of the Tatarstan Academy of Sciences. In the pre-national period of the Tatar’s history there were many various local, ethno-confessional and other complexes of costume. Its formation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathenism). In the late 19th – early 20th centuries, during the development of economic and cultural communications between Tatars of Russia’s separate regions, the common national Tatar costume was formed. City traditions of the Kazan Tatars have lie at the core of its formation. These traditions were distinguished by the style of a costume tendency to change – from archaic monumental national forms to more refined, corresponding to directions of the all-European fashion of that time. The “secondary folklore forms” characterize the present stage of transformation of the Tatar national costume as a whole – the aspiration of professionals to use national traditions in professional culture (graphic, arts and crafts arts, theatre, scenic folklore, modern modeling, museum expositions as a symbol of reconstruction of ethnic identity). Several trends present folk costume traditions in the modern festive culture of the Volga-Ural Tatars: the ethnographic (authentic) Tatar costume; the folkloristic (neo-folklore) variation of traditional costume; the so-called symbolical national sign the avant-garde costume. As the element of the ethnic culture, the national costume is the most important related to the individual. It represents a symbolical sign-category, an original social-cultural code and transmits the ethnic information from the past to the future.

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Geeraert, Dustin. "“In the Shadow of Greater Events in the World:” The Northern Epic in the Wake of World War II." Scandinavian-Canadian Studies 26 (December 1, 2019): 240–75. http://dx.doi.org/10.29173/scancan170.

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ABSTRACT: World War II was marked by widespread use of heroic narratives, national legacies, and grand ideas about destiny or the “arc of history.” These topics have a firm foundation in medieval literature, particularly in northern traditions. While literary medievalism had been in the limelight during the nineteenth century, during the early twentieth century it had been dismissed as a quaint curiosity; suitable for the benighted souls of the reading public, perhaps, but not to be taken seriously by avant-garde intellectuals. In the mid-twentieth century, however, literary medievalism returned with a vengeance. Questioning the critical narrative of twentieth-century literary history, this article examines iconoclastic works by Halldór Laxness (Iceland), T. H. White (England), John Gardner (America), and the Strugatsky brothers (Arkady and Boris, Russia), in order to compare perspectives on medievalism from different countries in the aftermath of the bloodiest conflict of all time.

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Rácz, István. "Garden, culture, dendrology – remarks and thoughts following the unexpected passing away of Géza Kósa." Studia botanica hungarica 52, no. 2 (2021): 89–114. http://dx.doi.org/10.17110/studbot.2021.52.2.89.

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This writing commemorates Géza Kósa (1950–2021), dendrologist and Curator of the Botanical Garden of the Hungarian Academy of Sciences (recently renamed the National Botanic Garden) and discusses his 45-year cooperation with both his institute and the Hungarian Natural History Museum’s team of dendrologists (Zsolt Debreczy, Gyöngyvér Biró, István Rácz and co-workers) and their International Dendrological Research Institute, Inc. (IDRI) in the US and its sister organisation in Hungary, the International Dendrological Foundation. The author recalls many aspects of cooperation with Géza Kósa, including some of their joint research trips to Mongolia, China, Uzbekistan, and Sikkim, as well as the multi-year documentation of the living dendrological collection at Vácrátót. Also discussed is the great need to establish a regional dendrological institute in Hungary.

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Gudkova, S. P., and A. V. Khozyajkina. "Features of the development of books of poems in modern Russian-language poetry of Mordovia (on the material of the poetry books by A. M. Sharonov «The Monologues» and S. Yu. Senichev «Grapes in Chocolate, or Compounding»)." Bulletin of Ugric studies 11, no. 1 (2021): 16–24. http://dx.doi.org/10.30624/2220-4156-2021-11-1-16-24.

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Introduction: the article is devoted to the study of the development of books of poems as a major genre form in modern Russian-language poetry of Mordovia and fits into the complex of Russian literary studies concerning the peculiarities of the development of the Finno-Ugric literary process. In the course of the research, the typological features of a thematic and «final» book of poems are revealed; the poetological features of this genre in the works of the poets of Mordovia belonging to the «traditional» and «avant-garde» paradigm are analyzed. Objective: to analyze the main trends of the development of a book of poems in the literary process of Mordovia. Research materials: the poetry books by A. M. Sharonov «The Monologues» and S. Yu. Senichev «Grapes in Chocolate, or Compounding». Results and novelty of the research: the analysis of the modern Russian-language poetry of Mordovia has shown that today there are two ideological and artistic paradigms: «traditional» paradigm based on the experience of classical Russian poetry and «avant-garde» paradigm developing with the support of postmodern experiments. The diversity of poetic practices makes it possible to determine the ways of development of a book of poems in the poetic process of the republic. In the creative works of the poets of Mordovia two genre-specific forms, such as thematic and «final», are developing. Moreover, the traditional poets most often comprehend the problems concerning the preservation of the national identity of the Mordovian people. They poetically sum up the plots and images of national mythology and folklore. The genre form of a «final» book of poems allows the most representative to convey the scale of significant historical and sociocultural events of the era, as well as to present the author’s biography against the background of these events. The avant-garde poets, on the contrary, move away from national attributes. The associative and metaphorical principle of constructing a book of poems becomes more important for them, where along with the lyrical understanding of the world there is a philological game, intertextuality, and allusiveness. Through the techniques of literary play authors often express nostalgia for lost values. The analysis of the poetic of the books of poems by A. M. Sharonov and S. Yu. Senichev will allow not only to determine the features of their creative manner, but also to trace the ways and character of the development of modern Russianlanguage poetry in Mordovia as a whole.

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Nielsen, Vibe, Henrietta Lidchi, Jesmael Mataga, Annelise Schroeder, Gwyneira Isaac, and Riley Rogerson. "Review Essays." Museum Worlds 10, no. 1 (July 1, 2022): 230–56. http://dx.doi.org/10.3167/armw.2022.100120.

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How to Practice Decoloniality in Museums: Practicing Decoloniality in Museums: A Guide with Global Examples, Csilla E. Ariese and Magdalena Wróblewska (Amsterdam: Amsterdam University Press, 2021)Listening to Art as the Voice of Our Time: The Online In-Conversation Series Indigenizing the (Art) Museum (Wapatah Centre for Indigenous Visual Knowledge/OCAD University, Toronto)National Museums in Africa: Some Reflections from the Continent: National Museums in Africa: Identity, History and Politics, Edited by Raymond Silverman, George Abungu, and Peter Probst (London: Routledge 2022)From Paddock to Peace Garden: Heritage Politics and the Development of the Japanese Memorial Site at FeatherstonShadows, Strings & Other Things: The Enchanting Theater of Puppets

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VERDON, NICOLA. "AGRICULTURAL LABOUR AND THE CONTESTED NATURE OF WOMEN'S WORK IN INTERWAR ENGLAND AND WALES." Historical Journal 52, no. 1 (February 27, 2009): 109–30. http://dx.doi.org/10.1017/s0018246x08007334.

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ABSTRACTThis article uses a case-study of agriculture to explore the range of anxieties and contradictions surrounding women's work in the interwar period. National statistics are shown to be inconsistent and questionable, raising questions for historians reliant on official data, but they point to regional variation as the continuous defining feature of female labour force participation. Looking beyond the quantitative data a distinction emerges between traditional work on the land and processes. The article shows that women workers in agriculture provoked vigorous debate among a range of interest groups about the scale, nature, and suitability of this work. These groups, such as the National Federation of Women's Institutes, the Women's Farm and Garden Association, and the National Union of Agricultural Workers represented a range of social classes and outlooks, and had diverse agendas underpinning their interest. Consequently women's agricultural labour is exposed as a site of class and gender conflict, connecting to wider economic and cultural tensions surrounding the place of women in interwar society.

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Szczerski, Andrzej. "MODERNISATION AND AVANT-GARDE IN CENTRAL-EASTERN EUROPE (1918–1939)." Muzealnictwo 59 (September 21, 2018): 198–202. http://dx.doi.org/10.5604/01.3001.0012.5066.

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The establishment of new independent states in Central and Eastern Europe after 1918 not only brought changes in European geopolitical reality, but also initiated many cultural processes, stimulated by the need for modernisation of the region. They aimed at strengthening the identity of individual states based on their civilizational advancement. It was possible thanks to political independence, which many central European nations gained for the first time in their history. Their expected growth was not only to confirm their right of existence, but also of being among the leading states in Europe. Within the Old Continent the central and eastern part of Europe turned out to be a domain of modernisation par excellence. Here its progression, on the one hand, was most awaited, on the other – raised the greatest controversy. Arts and artists had their particular role in this process; it was their mission to spread the new ideas, calling for a change of the status quo. Instead of simply adopting the already existing patterns of modernity they tried, however, to work out their original concepts of reforms, based on an attempt to reconcile modernity with traditional values, which were found worth preserving within individual cultures. These processes were supported by representatives of both the avant-garde and the more moderate modernisation, which resulted in peaceful coexistence of radical programmes and endeavours to find conservative definitions of modernism. “New Europe” in the years 1918–1939 was in favour of modernity, pursuing consistently civilizational advancement, with the good use of tools brought about by the new political reality and, first and foremost, the national independence gained by many states in the aftermath of World War I.

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Marszał, Maciej. "POLSKA POLITYKA HISTORYCZNA W OCENIE ZYGMUNTA WOJCIECHOWSKIEGO W OKRESIE MIĘDZYWOJENNYM." Zeszyty Prawnicze 11, no. 4 (December 19, 2016): 349. http://dx.doi.org/10.21697/zp.2011.11.4.15.

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Zygmunt Wojciechowski’s Assessment of the History-Based Policy in the Interwar PeriodSummary This paper will provide an analysis of the History-Based Politics in thoughts of Zygmunt Wojciechowski (1900–1955) – history profesor at the University of Poznań, co-founder of the Baltic Institute (Instytut Bałtycki) in Toruń, publicist of the “Avant-garde” and expert on PolishGerman relations. Wojciechowski in Polish political thought was a representative of the Integral Polish nationalism (polski nacjonalizm integralny), which meant synthesis of national and state’s demands. He opted for the ideological formula in order to reach an agreement between the political heritage of Roman Dmowski and the Józef Piłsudski’s political reforms. For Wojciechowski, a professor of history, an important element of national consciousness was the historical awareness that the Polish state must continuously maintain through History-Based Policy. According to him, this policy should focus on three main issues: First, the expansion on the tradition referring to the beginning of Polish statehood. Second issue would be to make Poles aware of their international situation, especially in the context of their struggle with the Germanic and Prussian element. And the third issue would be to revise and update the values of the Constitution of May 3. It should be noted that the views of Zygmunt Wojciechowski on History-Based Policy in the interwar period were a part of a political discourse. His bold and uncompromising thoughts of the Polish-German relations and the demand to return the “Lands of Piasts” (ziemie Piastów) constituted an important element of the Integral Polish nationalism. It wouldn’t be too far-fetched to say that the desire to carry-on the political will of Jan Ludwik Popławski and bring the Poles back to their “ancestral lands” (ziemie macierzyste) was present in Polish historical consciousness of the interwar period.

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Journal articles on the topic 'Garde nationale History'

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