Journal articles on the topic 'Painting, 19th century – Dictionaries'
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1
Myakshin, V. A. "A Brief Report on the Research Regarding Art History Texts (19th – First Half of the 20th Century) into Foreign Language Teaching (Courses: “Foreign Language” and “English for Professional Communication”) Carried out at Sergey Andriaka Academy of Watercolor and Fine Arts." Secreta Artis 6, no. 4 (May 22, 2024): 27–35. http://dx.doi.org/10.51236/2618-7140-2023-6-4-27-35.
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The scientific and methodological article focuses on authentic art history texts spanning from the second half of the 19th century to the first half of the 20th century. These texts serve as the foundation for the English teaching methodology tailored for students of Sergey Andriaka Academy of Watercolor and Fine Arts, an approach currently being developed by the author. The research is characterized by a certain degree of scientific novelty, as the majority of these texts are introduced into the educational curriculum of a higher art educational institution for the first time, thereby lending special relevance to the study.For a variety of reasons, the texts in question are of paramount importance for English language instruction. They offer a rich array of source materials to choose from. These include, among others: lectures on painting and sculpture, art masterclasses, catalogues of museum and private collections, artist biographies, academic journals, encyclopedias and dictionaries of painters. Original teaching materials are created on the basis of authentic texts in line with the educational needs of art students.
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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.
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Kasemu, Shermaymayti, Alfiya Sh Yusupova, Elvira N. Denmukhametova, and Firdaus G. Khisamitdinova. "Dialect vocabulary that has enriched bilingual dictionaries." Laplage em Revista 6, Extra-B (December 24, 2020): 117–22. http://dx.doi.org/10.24115/s2446-622020206extra-b601p.111-116.
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In the 19th century, broad functional development begins in the field of styles, where there is an even greater stability of linguistic norms, the increase in national characteristics and internal capabilities of the language, as well as the widespread use of various stylistic methods in speech, which they begin to record in dictionaries. The relevance of the study is explained by the interest in the dialectal vocabulary of the Tatar language, as one of the components of the lexical fund of bilingual dictionaries of the 19th century. The purpose of the study is to determine the role of dialect words in the system of Tatar speech of the 19th century, as one of the Turkic languages. In the course of the study, the authors studied the modern works of Russian and foreign authors on linguistics, lexicography; the dialectal material recorded in the Russian-Tatar dictionaries of the 19th century is analyzed; comparisons are made between the dictionary by M. Kashgari and the modern Tatar language.
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Kasemu, Shermaymayti, Alfiya Sh Yusupova, Elvira N. Denmukhametova, and Firdaus G. Khisamitdinova. "Dialect vocabulary that has enriched bilingual dictionaries." Laplage em Revista 6, Extra-B (December 24, 2020): 117–22. http://dx.doi.org/10.24115/s2446-622020206extra-b601p.117-122.
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In the 19th century, broad functional development begins in the field of styles, where there is an even greater stability of linguistic norms, the increase in national characteristics and internal capabilities of the language, as well as the widespread use of various stylistic methods in speech, which they begin to record in dictionaries. The relevance of the study is explained by the interest in the dialectal vocabulary of the Tatar language, as one of the components of the lexical fund of bilingual dictionaries of the 19th century. The purpose of the study is to determine the role of dialect words in the system of Tatar speech of the 19th century, as one of the Turkic languages. In the course of the study, the authors studied the modern works of Russian and foreign authors on linguistics, lexicography; the dialectal material recorded in the Russian-Tatar dictionaries of the 19th century is analyzed; comparisons are made between the dictionary by M. Kashgari and the modern Tatar language.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (January 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.
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Pandevska, Maria, and Makedonka Mitrova. "The Concept of the millet in Turkish dictionaries: Its alteration and the impact on Ottoman Macedonia." Balcanica Posnaniensia. Acta et studia 26 (January 26, 2020): 171–92. http://dx.doi.org/10.14746/bp.2019.26.10.
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In the 19th century the dictionaries/glossaries represent the first brace which connected different cultures and languages, thus also linking the Orient with the Occident and vice versa. In this context the research is focused on the Turkish dictionaries/glossaries, which for a long time actually represented one of the basic media of transmitting the new Western ideas in the East, and in our case, in the Ottoman Empire. Through the short comparative analyses of these dictionaries/glossaries and their authors (from the 19th century and early 20th century) we follow the change of the cognitive concept of the term millet with the term nation. The case study is focused on Ottoman Macedonia and on the political implications caused by this change of the meaning of the Ottoman term millet.
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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
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Kaszewski, Marek. "Opisy interiekcji w wybranych XIX-wiecznych słownikach języka polskiego." LingVaria 31, no. 1 (May 10, 2021): 11–24. http://dx.doi.org/10.12797/lv.16.2021.31.02.
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Descriptions of Interjections in Selected Polish Dictionaries from 19th Century
The author of the text analyses interjections present in three Polish dictionaries from the 19th century: the dictionaries by S.B. Linde, J.S. Bandtkie and A. Osiński, which are a part of a larger linguistic collection created in order to study and describe historical Polish interjections. The article takes into account the internal diversity of the historical class of interjections in the light of the lexicographers’ attempts to describe such units. Our attention is drawn to the lack of graphical normalization of interjections in the dictionaries, as well as the inconsistency of their marking and definition on the one hand, and the wide range of functional variants on the other. Differences in the manner of presentation of interjections in these dictionaries are also taken into account. Moreover, the author emphasizes the fact that they include a large number of animal-related (hunting) interjections. The study of the dictionary materials confirmed that their authors did not work out a method of a lexicographical description of these linguistic units.
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Hilton, Alison, and Elizabeth K. Valkenier. "The Wanderers: Masters of 19th-Century Russian Painting." Russian Review 52, no. 1 (January 1993): 106. http://dx.doi.org/10.2307/130872.
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Howden-Chapman, P. "Poverty and painting: representations in 19th century Europe." BMJ 325, no. 7378 (December 21, 2002): 1502–5. http://dx.doi.org/10.1136/bmj.325.7378.1502.
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Utari, Shela Dwi, Reza Hudiyanto, and Deny Yudo Wahyudi. "The Concept of Love of Country in 19th-Century Painting." Yupa: Historical Studies Journal 8, no. 1 (March 3, 2024): 240–49. http://dx.doi.org/10.30872/yupa.v8i1.2936.
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Love for the country does not only focus on the physical resistance carried out at that time but can also take other forms. In this case, painting artists realized their love for their homeland through visual aspects. This research explores the forms of the concept of love for the country in Indonesian painting, especially in the 19th century. This research uses the historical method with five stages: topic selection, heuristics, source criticism, interpretation, and historiography. The result of this research is that paintings in the 19th century illustrate the concept of patriotism as seen from the objects depicted. The object of the painting is not only fixated on the role and power of the colonial nation but also gives the impression that the Indonesian nation also has a role. This can be seen from some of Raden Saleh's paintings such as Daendels' potert, the painting Between Life and Death, and the painting of Prince Diponegoro's arrest, which gives the meaning that Indonesians also played a role in historical events that occurred at that time.
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Kasatkin, K. A. "“Balkans” in Russian Encyclopedic Dictionaries of First Half of 19th Century." Nauchnyi dialog, no. 8 (August 24, 2021): 341–55. http://dx.doi.org/10.24224/2227-1295-2021-8-341-355.
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The ways of representing the Balkan Peninsula that existed in Russia in the first half of the 19th century are analyzed in the article. The sources for the study were encyclopedic dictionaries of the first half of the 19th century. (A.A. Plyushar, L.I. Zeddeler, A.V. Starchevsky), as well as an unpublished work by I.P. Liprandi “The Experience of the Word Interpreter of the Ottoman Empire”. The author argues that for a long time the Balkan Peninsula was not perceived as a single region with a set of historically deter-mined features. Arguments are presented confirming that certain areas of the peninsula were elements of different discourses. The relationship between the choice of a particular register of descriptions by the authors of the dictionaries and the political affiliation of the described regions of the Balkan Peninsula is shown. The relationship between the choice of a particular register of descriptions by the authors of the dictionaries and the political affiliation of the described regions of the Balkan Peninsula is shown. A special attitude of the authors of encyclopedias to Serbia and Greece, the newly formed states on the territory of the Balkan Peninsula, has been established. Examples are given that show the duality of their images in the Russian narrative in the first half of the 19th century.
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Normanskaja, Julia V. "How the classification of Mansi dialects was changed (on the material of the first Cyrillic books and dictionaries of the 18th and 19th centuries)." Sibirskiy filologicheskiy zhurnal, no. 1 (2022): 126–43. http://dx.doi.org/10.17223/18137083/78/10.
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The first books and dictionaries written in Mansi dialects in the 18th and 19th centuries that were never described before have been found in the Archive of the Russian Academy of Sciences (St. Petersburg branch) and the National Library of Finland. This paper presents the data on six dialect features identified by L. Honti in seven 18th-century dictionaries and three 19th-century books. These archival sources show that the Proto-Mansi phonemes to be differentiated in the 19th century were usually realized by doublet archaic and innovative reflexes in the 18th century. Apparently, there were no clearly distinct dialect differences between the Northern and Western Mansi dialects in the 18th century. This situation changed in the middle of the 19th century when the Proto-Mansi *ā became o in all the Southern, Eastern, and Northern dialects under discussion. Proto-Mansi *i (*a according to the reconstruction proposed) has no doublets and is reflected as a in all the dialects. The reflexes of the Proto-Mansi *c and *š make it possible to differentiate the Eastern and, presumably, Northern and Southern subdialects of the Tobolsk province. The reflex χ- of the Proto-Mansi *k- before back vowels appears not only in the Northern and Eastern dialects but also in, presumably, the Southern dialects. Thus, the study shows that the vowel phonemes had practically no doublet reflexes in the 19th century and coincided in the four dialects examined. The consonant phonemes, on the other hand, make it possible to differentiate between the Southern, Northern, and Eastern dialects.
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Martí Mestre, Joaquim. "Comparació interdialectal al segle XIX. <i>Las joyas de la Roser / Les choyes de Roseta</i>." Zeitschrift für Katalanistik 28 (July 1, 2015): 231–60. http://dx.doi.org/10.46586/zfk.2015.231-260.
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Summary: The linguistic contrast of Leandre Torromé’s Valencian version (1874) of the play of Frederic Soler Las joyas de Roser (3ª ed. 1872) allows us to carry out a dialectal comparison between the Central Catalan and the Valencian varieties in the second half of the 19th century, from which the interesting variation of the language at that time becomes obvious. We study the most distinguished aspects of morphology, syntax and, especially, the lexicon of both versions, comparing the forms with those of other contemporary and previous texts and dictionaries, and adding comments of interest for the history of the Catalan language, as well as new data that complement and specify the information of the historical dictionaries. [Keywords: History of the lexicon; historical grammar; dialectal contrast; 19th century]
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Akhmetsagirova, Leysan I. "Phonetic information in Russian-German and German-Russian dictionaries compiled in Germany in the 19th century." Voprosy leksikografii, no. 23 (2022): 49–68. http://dx.doi.org/10.17223/22274200/23/3.
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The article presents the results of the study of phonetic information provided in Russian-German and German-Russian dictionaries which were compiled in Germany in the 19th century. The relevance of this research is determined by the lack of metalexicographic works on a detailed analysis of this issue. According to their title pages and prefaces, most of the Russian-German and German-Russian dictionaries were addressed equally to Germanspeaking and Russian-speaking users. The comparative study applied in this research shows how German lexicographers meet the need of both target groups for pronunciation information. In the course of the research, we studied the bilingual Russian-German and German-Russian dictionaries in relation to the formats of presenting phonetic information, the sound composition of Russian and German words, and of recording their prosodic characteristics (stress). The research reveals that German lexicographers of the 19th century paid considerable attention to the elaboration of phonetic information which was presented in the analyzed dictionaries in two formats. Information on pronunciation was either shown in dictionary entries or given separately outside the lemma list in the surrounding text (in phonetic appendices and tables). The most commonly used format is the presentation of the pronunciation directly in dictionary entries. By the end of the century, phonetic information was additionally introduced in the macrostructure of the dictionaries in the form of phonetic appendices/notes or alphabet tables with pronunciation rules. The problem of the accurate representation of the sound composition of words was not acutely posed in the dictionaries. Apparently, the reason is that pronunciation in Russian and German was quite in line with spelling so that why this type of information could be basically left out. Nevertheless, in some dictionaries, this phonetic parameter found some elaboration. In most cases, the sound composition was represented only for Russian words. All Russian-German and German-Russian dictionaries indicated word stress. But in most dictionaries, stress is placed only on Russian words. Only in three dictionaries, lexicographers indicated the position of stress on words of both languages. The analysis shows that information on pronunciation recorded for Russian words was slightly more elaborated than for German ones. It means that the main target group of these dictionaries were still German-speaking users. Based on the results of the research, a conclusion is made that German lexicographers tried in their own way to meet the requirements of the users and to make their dictionaries as user-friendly as possible. This experience is very valuable and of undoubted interest for contemporary lexicography. Therefore, there is a need in further special investigations dealing with these dictionaries. The author declares no conflicts of interests.
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Chernysheva, Maria A. "The New Historical Narrative in the 19th Century Painting." Actual Problems of Theory and History of Art 8 (2018): 140–48. http://dx.doi.org/10.18688/aa188-1-13.
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GO, Yeon-Jeong, and Jehyun LEE. "Recreation of Japanese Image from 19th Century French Painting." Europe Culture Arts Association 13, no. 2 (September 30, 2022): 81–100. http://dx.doi.org/10.26854/jeca.2022.13.2.81.
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Kwon, Jy-Eun. "Study on the Guardian Painting of the 19th Century." Journal of Art and Culture Studies 1 (December 31, 2012): 83. http://dx.doi.org/10.18707/jacs.2012.12.1.83.
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Lilien Filipovitch-Robinson. "Interpreting Western Academic Traditions in 19th-Century Serbian Painting." Serbian Studies: Journal of the North American Society for Serbian Studies 1, no. 2 (2009): 293–305. http://dx.doi.org/10.1353/ser.0.0031.
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Akhmetsagirova, L. I., and L. I. Gimatova. "Grammatical Information in the Russian-German and German-Russian Dictionaries Compiled in Germany in the 19th Century." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 4–5 (2021): 34–46. http://dx.doi.org/10.26907/2541-7738.2021.4-5.34-46.
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The paper presents the results of a study of the grammatical information provided in the Russian-German and German-Russian dictionaries compiled in Germany during the 19th century. In the course of the comparative research, we studied the bilingual Russian-German and German-Russian dictionaries for the extent of elaboration and presentation of symbolic and factual paradigmatic characteristics, as well as syntagmatic information. A relationship between the dictionary type and the quality/quantity of grammatical information was found. Numerous examples proving that grammatical information in the pocket dictionaries is least elaborated were provided. For the complete and manual dictionaries, a tendency to an increase in the quality/quantity of their characteristics was noted. It was also demonstrated that the grammatical information for the Russian items of the Russian-German and German-Russian dictionaries is slightly more elaborated than for the German ones, thereby indicating that the main target audience of these dictionaries was still German-speaking users. Based on the results of our research, it was concluded that all the studied dictionaries show certain features in their structures. Therefore, special works devoted to the study of each dictionary separately are of scientific interest. Such works may be helpful in identifying the lexicographic value of the dictionaries, as well as the contribution made by their authors to the development of the Russian-German and German-Russian lexicography.
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Skurzewska, Agata. "The lexis of leather crafts in Ilko Magura’s Ukrainian-German dictionaries of the 19th century." Studia Ukrainica Posnaniensia 12, no. 1 (July 12, 2024): 55–74. http://dx.doi.org/10.14746/sup.2024.12.1.4.
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The aim of the article is to present the lexicon of leather crafts recorded in Ilko Magura’s Ukrainian-German dictionaries dating back to the 1860s. The Ukrainian language material came from the Zhovkva district, within which the author’s hometown, Uhniv, was located. The inhabitants of this village had been engaged in leather crafts for centuries, primarily tanning and shoemaking. The 19th-century shoes called uhnivtsi were popular and famous throughout Galicia. Dictionaries are dominated by vocabulary related to the process of leather tanning and the subsequent production of shoes. It includes the names of craftsmen, tools and devices, shoe parts, materials and substances, for example, as well as activities. Through these records we learn the specialist vocabulary of leather crafts presented in the linguistic reality of the largest shoemaking center in 19th-century Galicia.
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Vrgoč, Dalibor, and Bernardina Petrović. "Juxtaposing the croatian military terminology of two groundbreaking 19th century dictionaries." Zbornik radova Filozofskog fakulteta u Splitu, no. 13 (2020): 65–91. http://dx.doi.org/10.38003/zrffs.13.7.
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The aim of this paper was to revisit and shed new light on the generally accepted view that the impact of German-Illyrian dictionary (Nĕmačko-ilirski slovar) by Ivan Mažuranić and Jakov Užarević of 1842 on Bogoslav Šulek’s German-Croatian dictionary (Nĕmačko-hrvatski rĕčnik) of 1860 was decisive and indispensable in many aspects, nothing if not a fundamental dictionary in Šulek’s work. This research was undertaken to put to the test this assertion by investigating more in depth the military subcorpora of both dictionaries, especially bearing in mind Šulek being the founding father of Croatian military terminology. The primary goal was to excerpt Croatian military terminology from both dictionaries in order for them to be mutually juxtaposed and made subject to a combination of quantitative and qualitative research. In terms of quantitative outcomes, we tried to detect and register German headwords and their corresponding Croatian equivalents to the most comprehensive extent possible, having produced two parallel subcorpora. The results of the correlational analysis prompted us to re-evaluate the proportions of Mažuranić and Užarević’s influence on Šulek. In terms of qualitative results, the research primarily outlined the spectrum of word-formation methods in both dictionaries and linguistic purism tendencies. In the final analysis, it can be reasonably assumed that Šulek did resort to the German-Illyrian dictionary as one of his valuable sources but in all likelihood as an auxiliary one, let alone a fundamental one.
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Kaverina, Valeriia, and Pengxiang Zhao. "The Hyphenated Spelling as a Stage in the Formation of Particle же spelling." Philology & Human, no. 3 (September 8, 2022): 7–18. http://dx.doi.org/10.14258/filichel(2022)3-01.
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The article is devoted to hyphenating particles, like же(жъ) in the 19th century. The purpose of the article is to state a codified and common spelling norm, trace its dynamics and find out the role of the hyphenated use of particles played at this stage. Particle spelling codification is represented in academic dictionaries and grammars of the 19th century. The article presents some facts of codification and patterns of the use of a hyphen in the design of words of this part of speech. However, throughout the 19th century, the particle же(жъ) is written with a hyphen, though the number of separate spellings exceeds the number of hyphenated. Having analyzed the patterns with the particles же(жъ), Ya.K. Grot finally legalized their separate spelling in the works of analytical and codifying nature at the end of the 19th century.
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Veisbergs, Andrejs. "TRANSLATORS’ TOOLS: LATVIAN AND LITHUANIAN BILINGUAL LEXICOGRAPHICAL TRADITION COMPARED." Vertimo studijos 3, no. 3 (April 6, 2017): 131. http://dx.doi.org/10.15388/vertstud.2010.3.10595.
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Translation needs tools, the oldest and most widespread of which are (bilingual) dictionaries. In the absence of the necessary language pair dictionary, translators seek advice in foreign language dictionaries. Translators have frequently been the authors of dictionaries themselves. Latvian and Lithuanian nations and languages, though kindred, have had a rather different history. Both historically and politically, developments in Latvian have been more parallel to Estonian than Lithuanian as both fell under German and Lutheran influence while Lithuanian had a Polish-bound Catholic history. Yet the development of their writing, translation and lexicography has followed a remarkably similar process and testifies to the common space of knowledge (Wissensraum). As with their lexicography, their bilingual dictionaries grew out of a connection between translation and religion. Both countries underwent a national awakening/awareness in the 19th century that led to a greater variety of translations and dictionaries. Notably, monolingual Latvian and Lithuanian dictionaries appeared only in the 20th century, testifying to the importance of bilingual lexicography in ensuring language contact. Bilingual dictionaries have dominated the lexicography scene of Latvia and Lithuania from the start until the present day. The twentieth century, with its expanding translation needs, produced an even greater variety of translations and bilingual dictionaries in both countries.
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Janečková, Eva. "Deutschsprachige Lexikographie in den böhmischen Ländern und der Sprachpurismus. Sommers und Demuths Wörterbücher vor dem Hintergrund der Verdeutschungspraxis." Acta Facultatis Philosophicae Universitatis Ostraviensis Studia Germanistica, no. 28 (September 2021): 5–14. http://dx.doi.org/10.15452/studiagermanistica.2021.28.0001.
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This study focuses on two German dictionaries published in the Bohemian Lands during the 19th century, whose titles show their relatedness to language purism. In the first part of the study, both dictionaries are presented and compared based on various criteria such as their authors’ motivation for publishing them and the presence of any aspects of Germanisation processes. The second part contains an analysis of two parts of the dictionaries; the aim is to examine the dictionary entries and identify the authors’ personal stance on language purism.
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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Jurkowski, Roman. "Współczesne białoruskie, polskie i rosyjskie badania biograficzne dotyczące dziejów Europy Środkowo-Wschodniej w XIX wieku." Przegląd Wschodnioeuropejski 10, no. 2 (December 30, 2019): 51–65. http://dx.doi.org/10.31648/pw.5461.
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Common past of Belarusians, Poles and Russians create the history of the Eastern lands of the former Polish-Lithuanian Commonwealth. Historical biographical dictionaries play an important role in studies of the historians from these lands. The article discusses 4 Belarusian, 3 Polish and 2 Russian biographical dictionaries describing important people from the 19th century and the beginning of the 20th century. In this article, two encyclopedias devoted to the Russian State Duma and the State Council reformed after 1906 were also assessed. The whole article shows the meaning of the historical biography in the progress of the scientific research over the past ages.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (1999): 69. http://dx.doi.org/10.2307/3179839.
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Carlyle, Leslie. "Paint Driers Discussed in 19th-Century British Oil Painting Manuals." Journal of the American Institute for Conservation 38, no. 1 (January 1999): 69–82. http://dx.doi.org/10.1179/019713699806113538.
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Su, Yu-chi. "The Russian Understanding of Manchu in the Second Half of the 19th Century: Focusing on Zakharov’s Complete Manchu-Russian Dictionary and the Contemporary Works." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 1 (2022): 4–12. http://dx.doi.org/10.21638/spbu13.2022.101.
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Sinology and Manchu studies in Russia are famous for their traditions and their own path of development. Since the 18th century, members of the Russian Orthodox mission devoted themselves to sinology and Manchu studies, especially in the second half of the 19th century, when they carried out a large number of studies on the history of the Qing dynasty and the Manchu language that deserve our attention. This article analyzes entries related to Manchu in the Complete Manchu-Russian Dictionary by I. I. Zakharov. By comparing selected entries of the Complete Manchu-Russian Dictionary with two OTHER Manchu Dictionaries, namely Da Qing Quan Shu and Yuzhi Zengding Qingwen Jian , the article demonstrates how I. I. Zakharov defined the vocabulary and differences of interpretations in these dictionaries. By comparing entries with information from contemporary works, such as Works on Chinese Issues by Russian Missionaries in Beijing in the Mid-19 th Century and the travel note Travel to China , this article provides an image to understand how vocabulary reflects Russians’ understanding and perception of the Qing Dynasty and Manchu in the second half of the 19th century.
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Sergeeva, Tatiana. "V.V. Vereshchagin as a historical painter. On the issue of the art genre classification." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-1 (April 1, 2023): 14–23. http://dx.doi.org/10.31166/voprosyistorii202304statyi19.
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The article discusses the work of V.V. Vereshchagin (1842-1904) in the context of the question of art genre classification. Analyzing artist's main painting series - Turkestan, Balkan, Russian, including “1812", from this point of view, the author concludes that VV. Vereshchagin is an outstanding master of the historical painting. The article discusses the phenomenon of a Large-Scale history painting as a credo of the 19th century Russian history painters.
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Hnatiuk, Lidiia. "ACCENT VARIATION OF ADVERBS IN STANDARD UKRAINIAN: A DIACHRONIC APPROACH." Studia Linguistica, no. 18 (2021): 55–69. http://dx.doi.org/10.17721/studling2021.18.55-69.
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The article elucidates the accent variation of adverbs in Standard Ukrainian of the 19th-21st c. with special attention to their origin and usage history. The author demonstrates that some composite adverbs have two accent variants due to century-old differences in their accentuation in the West and East variants of Standard Ukrainian. Taking into account similar and different features of some adverbs’ accentuation in East and West Ukrainian, she shows how these differences were registered in 19th c. dictionaries, and, occasionally, in 18th с. accented texts as well as 17th c. dictionaries. Dialect texts, too, demonstrate various stages of dual accentuation emergence in oral speech. Her analysis of T. Shevchenko’s poems determined that in his idiolect, adverb accentuation prevails of his native Middle-Dnieper dialect. The author discusses how groups of adverbs with variant prefix/root stress were treated by lexicographers in the 2nd half of the 20th c.–the early 21st c. In 19th c. dictionaries, they mostly have a root stress, and rarely a stress on the prefix на- or dual accentuation. The recessive prefix stress is shown to be historically determined. Due to contemporary usage, linguists’ opinions, and personal preferences and uncertainties of pronouncing and monolingual dictionaries compilers, 20th -21st dictionaries are not always consistent in registering accent variants of some adverbs. Now some adverbs lack fixed accentuation. The author proves that accent variants of Modern Standard Ukrainian adverbs are results of lengthy historic evolution featuring both dialect interaction and analogy influence.
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Nummila, Kirsi-Maria Karoliina, and Minna Seppänen. "Suomalaisen Kirjallisuuden Seuran 1800-luvulla kustantamat vieraskieliset sanakirjat: funktiot, odotukset ja vastaanotto." Sananjalka 60, no. 60. (December 17, 2018): 184–203. http://dx.doi.org/10.30673/sja.69844.
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Suomalaisen Kirjallisuuden Seuran 1800-luvulla kustantamat vieraskieliset sanakirjat: funktiot, odotukset ja vastaanotto
Suomalaisen Kirjallisuuden Seura (SKS) oli 1800-luvulla merkittävä suomen kielen joko lähtö- tai kohdekielenä sisältävien vieraskielisten sanakirjojen kustantaja. Tässä artikkelissa tarkastellaan SKS:n 1800-luvulla kustantamien vieraskielisten sanakirjojen julkaisutoimintaa kustantajan, sanakirjan laatijan ja julkaisun vastaanottajan näkökulmista. Tutkimuksen keskeisenä tarkoituksena on valaista sanakirjojen kustantamiseen liittyviä tavoitteita ja sanakirjoihin kohdistuneita toiveita. Tutkimuksessa tarkastellaan näiden seikkojen kirjoittumista analysoitaviin teksteihin ja tekstien väliseen vuoropuheluun. Tutkimusaineisto koostuu SKS:n kokouspöytäkirjoista, SKS:n julkaisemien sanakirjojen esipuheista ja sanakirjoista julkaistuista kirja-arvioista. Tarkasteltavat sanakirjat on julkaistu vuosina 1864–1900. Ajanjakso on suomen kielen kehityksen ja suomenkielisen sivistyksen kannalta erityisen merkittävä.
SKS:n toimintaa kuvaavat pöytäkirjat osoittavat, että SKS:n piirissä käydyissä keskusteluissa tärkeimmiksi syiksi laatia vieraskielisiä sanakirjoja nousevat koulujen tarpeet ja suomalaisen kulttuurin rikastuttaminen merkittävien sivistyskielten kirjallisuuden kautta. Teosten korkean tason SKS pyrki varmistamaan valitsemalla tekijät tarkkaan ja kontrolloimalla prosessia asettamiensa toimikuntien avulla. Teosten esipuheet osoittavat, etteivät SKS:n sanakirjojen laatijoille antamat ohjeet kuitenkaan olleet loppuun asti mietittyjä eivätkä toimitusperiaatteet selviä. Kesken prosessin muuttuneet ohjeet ja tavoitteet tuottivat epätasaisuutta ja hidastivat työtä. Monien tarpeiden samanaikaiset tyydyttämisyritykset epäonnistuivat käytännössä, ja tuloksina oli yhtäkään käyttäjäryhmää erityisen hyvin palvelevia teoksia. Samat teemat ovat esillä sanakirjoista kirjoitetuissa arvioissa; niissä nousee kuitenkin voimakkaasti esiin myös pioneerityön arvostus ja kansallinen kiitollisuuden tunne. Puutteistaan huolimatta 1800-luvun vieraskieliset sanakirjat olivatkin merkittäviä osoituksia suomen ilmaisuvarojen rikkaudesta ja kielen arvosta tasavertaisena muiden sivistyskielten rinnalla.
Foreign language dictionaries published by the Finnish Literature Society in the 19th century: functions, expectations, and reception
In the 19th century, the Finnish Literature Society (SKS) was a major publisher of foreign language dictionaries containing Finnish as either the source or the target language. This article deals with the publication process of foreign language dictionaries published by SKS in the 19th century from the points of view of the publisher, the author of the dictionary, and the recipient of the publication. The central purpose of the study is to illustrate the goals related to dictionary publication as well as the needs behind these publications. This study examines how such matters are expressed in the texts to be analysed as well as the dialogue between the texts. Research data consist of SKS’s minutes, the forewords of dictionaries published by SKS, and book reviews made of the dictionaries. The analysed dictionaries were published between 1864 and 1900. This time period is of particular significance for the development of the Finnish language and Finnish language education and culture.
The minutes describing SKS’s operation reveal that, in discussions within SKS, the most important reasons for publishing foreign language dictionaries were seen to be the increasing needs of the school system and the enrichment of Finnish culture through access to literatures published in the principal languages of the civilised world. SKS aimed to ensure the high quality of its publications through careful selection of authors and monitoring of the publication process with the help of specially created committees. However, from the forewords of the dictionaries we can see that the instructions given by SKS to the authors of the dictionaries were not quite thought through, and editorial principles were somewhat unclear. Instructions and objectives were being revised during the publication process, which caused inconsistent end results and slow progress. The goal of trying to meet varying requirements at the same time was not successful in practice, and the end result was the publication of dictionaries that were not particularly suitable for any target group. The same themes come up in reviews written about the dictionaries; however, the reviews also express a clear admiration towards the pioneering spirit of the publications and a sense of national gratitude. Despite their deficiencies, foreign language dictionaries in the 19th century were a significant demonstration of the expressive richness of the Finnish language and its value as an equal to other languages of the civilised world.
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Pavlova, Anna. "Yaroslavl traditions in the classicist period of church wall-painting in Tver region." St. Tikhons' University Review. Series V. Christian Art 51 (September 29, 2023): 155–73. http://dx.doi.org/10.15382/sturv202351.155-173.
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In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.
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Košutar, Petra. "Europski uzori i hrvatski jezični priručnici u 18. stoljeću." Studia z Filologii Polskiej i Słowiańskiej 48 (June 16, 2015): 163–79. http://dx.doi.org/10.11649/sfps.2013.010.
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European models for the Croatian language handbooks in the 18th centuryUntil the 19th century Croatian language handbooks, namely grammars, dictionaries and ortography books, were mostly bilingual and multilingual. Only at the begining of the 19th century was the first grammar of Croatian written in Croatian published, and in the second half of the same century the first monolingual dictionary – Academy’s Dictionary was published. The origin of this is not in the language itself. When writing these multilanguage handbooks, the authors followed domestic predecessors, as well as foreign. This work is an attempt to reveal those foreign language models that Croatian linguists in the 18th century followed and on the example of one metalexicographic theme – usage labels – to show development of Croatian 18th century lexicography within the European lexicography.
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Ivanov, Andrey, and Rimma Ivanova. "Lexeme Glück in German Dictionaries of the 16th — 19th Centuries: Lexicographic Representation and Interpretation of Its Conceptual Content." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 9–22. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-9-22.
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The article discusses the concept “happiness” as represented and interpreted in lexicography. The aim of the study is to compare existing theories about the origin of the word Glück, to trace the development of its semantics from one generalized meaning to a set of meanings that reflects a gradual evolution of people’s ideas about happiness, and to identify ways of representing these ideas by lexicographic means. Using methods of historical-linguistic, compara-tive, etymological, definitional, and semantic analysis, the authors examine German dictionaries and lexicons published in the period from 1513 to 1888 and establish that in those four centuries the concept “happiness,” represented in the German vocabulary by the lexeme Glück, underwent significant transformation, as material and spiritual needs of people kept changing against the background of gradual humanization of their social life, which, in its turn, led to added complexity in the semantic structure of the lexeme Glück that embodies this concept. Descriptions of the lexeme Glück in dictionaries dating from the beginning of the 16th to mid-18th century are very concise due to the type of these dictionaries (nomenclators, translated dictionaries) and do not involve detailed comments on the full range of meanings that the lexeme had. The main elements of the semantic structure of the lexeme are ‘(temporary) well-being,’ ‘bliss,’ ‘luc ,’ and ‘fortune (fate)’ (glu c fall, glu c elig eit, wol tand, zeit-liche Wolfart). Analyzing interpretations of the lexeme Glück in the mid-18th — late 19th century dictionaries, the authors conclude that the semantic structure of the lexeme became more complicated due to philosophical rethinking of the concept and its integrated dissemination through dictionaries. The etymology of the word Glüc is still unclear. It is assumed that the word appeared in the 13th century and retained a neutral meaning until the end of the Middle High German period when a positive connotation began to prevail in the semantics of the word.
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Sedleryonok, Valeria D. "Venetian Cinquecento Pictures and France in the 1820s: Painting, Perception, Influence." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 69–89. http://dx.doi.org/10.21638/spbu15.2022.104.
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This article deals with reassessing Venetian Cinquecento painting in France in the 1820s. This research is a series of case studies related to this problem and providing various types of historical analysis. It examines particular artworks, artistic, social, political contexts, and the influence of Venetian art on the formation of a new artistic language in France in the 1820s. Using an analysis of a wide range of both visual and verbal primary sources, I explore theoretical and practical aspects of the reassessment of Venetian Cinquecento painting in early nineteenth-century France. The paper presents a detailed examination of various French publications of that time regarding Venetian art, as well as a comparative analysis of artworks by Venetian and French artists, namely, Jacopo Robusti, Paolo Veronese, Andrea Schiavone, Eugène Delacroix, Xavier Sigalon, and Eugène Devéria. In this article, I address the following questions. What was the knowledge about Italian Renaissance art in France in the early 19th century? What place did the Venetian school take among the Italian schools of painting in the French consciousness at that time? How was Venetian painting perceived, revisited and presented? How did it influence the formation of a new artistic language in the 1820s? This study reveals the causes, specifics, aspects, and far-reaching consequences of the reconsideration of Venetian Cinquecento painting in the 1820s and its significance for the understanding of the patterns of art development in 19th-century France.
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Yusupova, Alfiya Sh. "Lexicographical Monuments in the Collections of the Research Library Named After N. Lobachevsky of the Kazan State University." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 1, 2009): 46–52. http://dx.doi.org/10.25281/0869-608x-2009-0-2-46-52.
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This article represents an analysis of Tatar language bilingual dictionaries of the 19th century, stored at the rare books department of the Kazan State University Research Library, named after N.I. Lobatchevsky. The article contains a brief biography of creators of these works and analysis of structure of these lexicographical masterpieces.
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Tamburini, Diego, Meejung Kim-Marandet, and Sang-ah Kim. "Dye Identification in Mounting Textiles of Traditional Korean Paintings from the Late Joseon Dynasty." Heritage 6, no. 1 (December 21, 2022): 44–66. http://dx.doi.org/10.3390/heritage6010003.
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In the framework of the ‘Amorepacific Project for the conservation of Korean pictorial art’ (2018–2023) at the British Museum, three traditional Korean paintings have been investigated with the aim of supporting their conservation and obtaining information about the dyes used in the mounting textiles and other mounting elements. The paintings include a rare example of late 18th-century traditional Korean portraiture (accession number 1996,0329,0.1); a late 19th-century two-panel screen silk painting of Pyeongsaeng-do-Scenes of life (accession number 2016,3028.1); and a late 19th-century twelve-panel screen silk painting representing the Five Confucian virtues (accession number 1957,1214,0.1). The mounting textiles were investigated non-invasively by using digital microscopy and fibre optic reflectance spectroscopy (FORS), and the results guided a minimally invasive sampling campaign. Fourteen samples were analysed by using high-pressure liquid chromatography coupled with diode array and tandem mass spectrometry detectors (HPLC-DAD-MS/MS), leading to the identification of the natural dyes indigo, sappanwood (Biancaea sappan, formerly Caesalpinia sappan), amur cork tree (Phellodendron amurense) and safflower (Carthamus tinctorius) in the mounting elements of the 18th-century portrait. These results confirmed some of the non-invasive observations and were in agreement with the production date of the painting. Both natural and synthetic dyes were identified in the mounting textiles of the panel screens. Among the synthetic dyes, fuchsin (C.I. 42510), methyl violet 3B (C.I. 42536), methyl blue (C.I. 42780) and benzopurpurin 4B (C.I. 23500) were identified. These are early synthetic dyes first synthesised between the 1860s and the 1880s, suggesting that the silk textiles are likely to have been dyed in the last part of the 19th century.
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Tarasova, Maria, and Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА." Social Anthropology of Siberia 2, no. 1 (March 31, 2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.
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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Mastrotheodoros, Georgios P., and Konstantinos G. Beltsios. "Original Varnish Recipes in Post-Byzantine Painting Manuals." Heritage 4, no. 4 (October 17, 2021): 3572–82. http://dx.doi.org/10.3390/heritage4040197.
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During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.
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Chrysovitsanou, Vasiliki, and Christina Palaiologou. "German Art of the 19th Century through the Lens of The Greek Literary Magazine Kleiō (Clio): Academic Formalism Versus Modernism." International Journal of Arts, Humanities & Social Science 05, no. 07 (July 12, 2024): 5–16. http://dx.doi.org/10.56734/ijahss.v5n7a2.
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We examine the work of 19th-century German painters as presented in the Greek-language magazine Kleiō published in Germany in the late 19th century. Through an extensive catalogue of paintings, the article highlights the themes that preoccupied German painters during this period. It places particular emphasis on their approach, aesthetic preferences, the decisive role played by the Academies of Fine Arts, and their attitudes towards the modern movements developing in France during the 19th century. It explores the reasons for which Kleiō magazine promoted academic German painting to its Greek readership. It reports the particularly close relations between Greece and Germany during this period and the fact that many Greek painters completed their studies at the Munich Academy of Fine Arts. Since for most of the 19th century, Germany was deeply influenced by the achievements of ancient Greek art, many German painters opposed modernism, instead upholding what they perceived to be the values and ideals of classical antiquity integrating them into German art
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Zakharova, Yu G. "Loan Words in the Russian Language of the Second Half of the 19th Century (On the Material of N. S. Leskov᾽s Letters)." Philology 17, no. 9 (2018): 81–89. http://dx.doi.org/10.25205/1818-7919-2018-17-9-81-89.
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Neology of the Russian language of the 19th century is a promising field of historical lexicology. Russian neologisms of that era are among the main objects of attention for the compilers of the Dictionary of the Russian language of 19th century. Letters of Russian writers represent an important source for the study of neologisms, since in their correspondence with friends, colleagues, relatives, acquaintances, writers responded to changes in the sociopolitical, economic, and cultural life of Russia in the second half of the 19th century, and this was reflected in the language of the letters. We used the letters of N. S. Leskov as our source, in which one can observe different types of foreign language units. Borrowed words are often reflected in dictionaries with great delay. Leskov’s letters offer interesting material for the observation the initial stages of the use of foreign words in the Russian language. In addition, letters allow us to analyze the peculiarities of functioning of borrowed words in the Russian language. The purpose of the study is to identify loan words in Leskov's letters and to analyze their peculiarities in the aspect of the overall dynamics of Russian lexical-semantic system. The article gives the definition of the term «borrowing», and specifies criteria of the emergence of foreign language units in the lexical system of the Russian language. Material of Leskov’s letters proves that they are a valuable linguistic source for exact dating of the emergence of foreign words in the Russian language, and thus they can be used to adjust data dictionaries; and to trace the processes of adaptation of loan words in the 19th century Russian language (the processes of expansion and narrowing of the semantic structure of words, determinologization, metaphorization values).
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Zakharova, Yu G. "Lexical borrowing of the second half of the 19th century in the letters of I. S. Turgenev." Sibirskiy filologicheskiy zhurnal, no. 2 (2021): 177–91. http://dx.doi.org/10.17223/18137083/75/13.
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The paper discusses lexical borrowings from the Western European languages in Russian in the second half of the 19th century in the letters of I. S. Turgenev. The definition of the term “borrowing” is given. The criteria determining the entry of a foreign language unit into the lexical system of the Russian language are specified. The word’s being widely represented in various dictionaries is considered as one of the important criteria to determine the foreign lan-guage word’s common usage. The entry dating of foreign words in the Russian language is specified in letters and other sources. The processes of semantic adaptation of borrowings in the Russian language of the 19th century are analyzed: narrowing, expansion of the meaning and scope of the word usage, complication of the semantic structure, appearance of meanings typical of colloquial speech or having individual authorial character, connotation change. This study allowed considering the letters of I. S. Turgenev as a valuable source for compiling et-ymological dictionaries of the Russian language since the borrowed vocabulary is not fully re-flected in them. The author believes that the material of the letters of I. S. Turgenev should be reflected in the Dictionary of the Russian language of the 19th century. With instability and the dynamics of units being the principle of word selection in the dictionary, borrowed vo-cabulary will take an important place as an significant part of the neology of this era.
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Jung, Jin-Hee. "Busan's Chilseong faith and the tejaprabha painting in the 19th century." HANGDO BUSAN 44 (August 31, 2022): 259–98. http://dx.doi.org/10.19169/hd.2022.8.44.259.
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PARSONS, C. "An Outline of 19th-Century European Painting from David through Cezanne." Oxford Art Journal 11, no. 1 (January 1, 1988): 74–75. http://dx.doi.org/10.1093/oxartj/11.1.74.
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Babović, Dželila. "Dictionary Manuscripts and Lexicographic Tradition in Bosnia From the 16th to the 19th Century." BOSNIACA, no. 27 (December 9, 2022): 130–44. http://dx.doi.org/10.37083/bosn.2022.27.130.
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Dictionaries in Arabic, Turkish, Persian, and Bosnian that were created and used in Bosnia from the 16th to the 19th century are an indispensable segment of the Bosnian lexicographic tradition. Based on the researchers and analysis of the form, language, methodology, questions of authorship, and reception of the dictionaries stored in the institutional manuscript collections of Bosnia and Herzegovina, it is possible to talk about the dominant lexicographic trends and practices during the Ottoman rule in these areas and to determine the contribution of these manuscripts works and their authors to the development and continuity of the lexicographical tradition.
The research base for this work was manuscript collections stored in public cultural and scientific institutions of Bosnia and Herzegovina: Gazi Husrev-bey Library, National and University Library of Bosnia and Herzegovina, Bosniak Institute – Adil Zulfikarpašić Foundation, Oriental Institute of the University of Sarajevo, Sarajevo Historical Archives, The Cantonal Archives Travnik, The Cantonal Archives Tuzla, The General Library of Tešanj, Herzegovina Museum Mostar and Herzegovina Archives Mostar.
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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (August 30, 2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.
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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.