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1
Ferreira, Luiz Otávio. "Negócio, política, ciência e vice-versa: uma história institucional do jornalismo médico brasileiro entre 1827 e 1843." História, Ciências, Saúde-Manguinhos 11, suppl 1 (2004): 93–107. http://dx.doi.org/10.1590/s0104-59702004000400005.
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Ao analisar o caso dos primeiros jornais médicos brasileiros - Propagador das Ciências Médicas (1827-1828); Semanário de Saúde Pública (1831-1833); Diário de Saúde (1835-1836); Revista Médica Fluminense (1835-1841); Revista Médica Brasileira (1841-1843) -, pretendemos demonstrar como o contexto sociocultural possibilitou o surgimento desse gênero de publicação no dinâmico e conturbado ambiente do Rio de Janeiro dos anos 1820 e 1830. Nosso argumento é o de que a trajetória inicial do jornalismo médico no Brasil teve como traço distintivo a simbiose entre negócio (interesses comerciais das casas editoras instaladas na Corte), política (conflitos relacionados a disputas pela hegemonia política, no contexto de consolidação do Estado imperial) e ciência (movimento de institucionalização e afirmação científica da medicina).
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Tucker, Herbert F. "Verse Visa." Nineteenth-Century Literature 72, no. 4 (2018): 433–51. http://dx.doi.org/10.1525/ncl.2018.72.4.433.
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Herbert F. Tucker, “Verse Visa: Dickens Adapts Poetry in The Old Curiosity Shop” (pp. 433–451) In Charles Dickens’s The Old Curiosity Shop (1841), Dick Swiveller’s hilariously eclectic misquotation of popular verse coexists with Dickens’s own grave proclivity to fall into unlineated yet incantatory blank verse when orchestrating the death of Little Nell. These complementary prose effects freshly showcase the novelist’s joint commitments to humorous and pathetic renditions of the modern condition. They also underscore the coalescence of the novel as such, circa 1840, out of a miscellany of barely compatible ingredients, as the still-burgeoning genre sought to displace, whether by sidelining or by incorporation, poetry’s millennial prestige.
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Lappo-Danilevskii, Konstantin. "Andrei Aleksandrovich Teils, a Writer Who Nonetheless Existed." Slovene 11, no. 2 (2022): 125–48. http://dx.doi.org/10.31168/2305-6754.2022.11.2.6.
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The paper reconstructs the biography of Andrei Aleksandrovich Teil’s (1782–1822), the author of “Hercules and Daianira”, a tragedy in аlexandrine verse (1807). He is attributed various sentimental poems and translations from French that were published in the journals “Ippokrena” (1799), “Litsei” (1806), “Novosti” (1799), “Novosti russkoi literatury” (1803), “Severnyi vestnik” (1805) and “Severnyi Merkurii” (1811). These publications were signed “A. de Teil’s”, “An. Teil’s”, “An: Teil’s”, “A. Teil’s”, “Teil’s” and until now have been erroneously considered to be the work of Anton Antonovich Teil’s (1733 — after 1798), the uncle of Andrei Aleksandrovich. It has not been noticed that at one point the author revealed his identity by putting the name “Andrei Teil’s” under a poetic translation from Voltaire in “Litsei” (1806). References made in “Puteshestvie v Norvegiiu odnogo molodogo cheloveka v 1801 godu” [A Young Man’s Journey to Norway in 1801] (published in “Severnyi Merkurii” [The Northern Mercury] in 1811; signed A. Teil’s) to the anonymous “Puteshestvie v Shvetsiiu” [A Journey to Sweden] (1811; published after the last part of “Puteshestvie v Norvegiiu odnogo molodogo cheloveka v 1801 godu” in the same journal) indicate clearly that both of these travelogues were written by Andrei Aleksandrovich Teil’s. Furthermore, the travel routes described therein coincide with two trips he took in 1800 and 1801, as can be seen in his curriculum vitae in the Russian State Naval Archive. Closely connected with these texts is the “Idilliia na vozvrashchenie iz Norvegii druga moego A. A. T..lsa v 800-m godu oktiabria 29 dnia” [Idyll on the Return from Norway of My Friend A. A. T..ls on 29 October 1800], published in 1810 in the same review and signed with the cryptonym “P - r U - - ov”. In this case, it is highly probable that the author was Petr Aleksandrovich Ushakov (1783 — after 1804), a classmate of Andrei Aleksandrovich Teil’s at the navy cadet school and a close relative of the famous writer Aleksandr Nikolaevich Radishchev (1749–1802).
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Kornilyeva, Liliya. "Дискурси влади у творчості юліуша словацького". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, № 4 (2023): 221–29. http://dx.doi.org/10.36770/bp.750.
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Juliusz Słowacki, a Polish Romantic poet and dramatist, was born in Krzemieniec,where he spent part of his life. As a result, he was well-versed in Ukrainian, and asa writer, he largely depended on Ukrainian settings, Ukrainian history, and Ukrainian folklore. Ukrainian themes became an inherent part of his literary works. Bestknown for his masterpieces Balladyna (1834), Mazepa (1839), Lilla Weneda (1840),Jan Kazimierz (1839), Bienowski (1841), Sen srebrny Salomei (1843), and Ksiądz Marek(1843), Słowacki is now regarded as an outstanding writer, whose ideas and aestheticvalues influenced generations of other European artists. Underrated during his lifetime, he appears at his most resplendent nowadays. The discourses of power in theworks of Słowacki are given close attention because they are of crucial importance forhis original texts. The multi-faceted personalities of numerous monarchs depicted byhim, give an insight into the author’s understanding of power and its nature.
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Silliman, Robert. "The Richmond Boulder Trains: Verae Causae in 19th-Century American Geology." Earth Sciences History 10, no. 1 (1991): 60–72. http://dx.doi.org/10.17704/eshi.10.1.hh085022m7ng8511.
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In the 1840's and 1850's some of the leading geologists of the day, including Edward Hitchcock, Henry D. and William B. Rogers, Charles Lyell, and Louis Agassiz, investigated long, distinct trains of erratic boulders discovered in 1842 in western Massachusetts. It was hoped that study of the boulder trains would help solve the vexing problem of the origin of the drift. The theories tested by application to the erratics were various in content but remarkably similar in justification. They all appealed to the Newtonian principle of vera causa. This methodological principle appears to have been more fundamental in treating the boulder trains than conceptions drawn from catastrophism and uniformitarianism. Use of the method did not, however, dispel the mystery of the boulders. A clarification of their origins came only with the general adoption of the glacier theory around 1870.
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Amayo Zevallos, Enrique. "Amazonía y el Pacífico en "La Jangada" de Julio Veme: Una visión eurocéntrica." Amazonía Peruana, no. 27 (December 14, 2000): 11–60. http://dx.doi.org/10.52980/revistaamazonaperuana.vi27.88.
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La novela amazónica de Julio Veme, "La Jangada”, fue publicad a en 1881. En ese libro uno de los personajes centrales es Manuel Valdez; además, entre los numerosos autores que Veme consultó para obtener información n sobre la Amazonía, él cita "o brasileiro Valdez" quien había visitado y escrito sobre esa región en 1840. Coincidentemente, el cuzqueño José Manuel Valdez y Palacios, quien por razones políticas tuvo que huir del Perú, caminó gran parte de la Amazonía entre 1843 y 1844 (estas partes de su trayecto son exactamente las mismas que Verne trata en su libro). Ya en Río de Janeiro publicó, en portugués, entre 1 844 y 1 846, el relato de su extenso viaje junto a otros temas histórico s y literarios. En este trabajo se intentará determinar si el Valdez ficcional se basa en el verdadero y si las ideas de éste sobre la Amazonía de alguna manera influenciaron las del gran escritor francés.
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Karhio, Anne. "‘These shirts I borrow from the Finnish’: the Kanteletar and the fabric of loss in Peter Sirr’s ‘A Journal’." Review of Irish Studies in Europe 2, no. 1 (2018): 208–24. http://dx.doi.org/10.32803/rise.v2i1.1726.
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This essay examines the personal, cultural and linguistic exchanges explored through textile metaphors in Peter Sirr’s 1994 poetic sequence “A Journal” (from the collection The Ledger of Fruitful Exchange). In this sequence, Sirr draws on The Kanteletar, a collection of Finnish folk verse originally published 1840-1841 by Elias Lönnrot, who also compiled the more widely known folk epic The Kalevala. Sirr’s adoption of the Finnish poems’ textile imagery allows him to interrogate the complexities of personal and cultural communication, as the sequence charts the end of a relationship between the poem’s speaker and his Finnish lover. Textiles assume multiple functions as metaphors and material objects: they act as personal and cultural references, as formal and structural devices, and as symbolic manifestations of intimate, emotional crisis. Sirr’s engagement with Finnish folk verse is thus thematic as well as formal, and articulates a desire to inhabit the lost lover’s idiom through numerous attempts of linguistic and cultural translation, and the literal and figurative processes of stitching and weaving.
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Trejo Pinedo, Virginia, and Víctor Manuel Bañuelos Aquino. "El debate intelectual por la muerte de la señora de la vela verde. Nueva España, 1814-1821." Legajos. Boletín del Archivo General de la Nación 8, no. 12 (2017): 67–93. http://dx.doi.org/10.31911/bagn.2017.8.12.63.
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El presente artículo muestra la decadencia de la Inquisición en la Nueva España a partir de su abolición, primero en 1813 y posteriormente en 1820. En la primera sección narramos el contexto, origen, evolución y las principales características de dicho tribunal. Luego centramos la atención en la discusión que surgió entre los letrados de la época alrededor de su supresión. Analizamos principalmente panfletos que circularon en Nueva España en 1820 y 1821 y que fueron la respuesta a la obra del carmelita fray José de San Bartolomé, quien en 1814 publicó El duelo de la Inquisición. Los panfletos que atacaron o defendieron este texto, así como otros posteriores, dan pistas del surgimiento de la opinión pública en el México independiente.
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Costeloe, Michael P. "The Extraordinary Case of Mr. Falconnet and 2,500,000 Silver Dollars: London and Mexico, 1850-1853." Mexican Studies/Estudios Mexicanos 15, no. 2 (1999): 261–89. http://dx.doi.org/10.2307/1052144.
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Este artículo versa sobre la deuda externa de México en el siglo dicinueve. Revela la manera en que los acreedores británicos, representados por su Committee of Mexican Bondholders (Comité de Tenedores de Bonos Mexicanos) y su agente, Francis Falconnet, negociaron el pago en efectivo de 2.5 millones de dólares del dinero de indemnización pagada por Estados Unidos después de la guerra México-Estados Unidos de 1846-1848. Las transacciones financieras internacionales; los intereses gubernamentales franceses, estadounidenses y británicos; la política mexicana doméstica y la probable corrupción de la élite política mexicana, son algunos de los temas explorados en este ensayo. This article concerns Mexico's nineteenth-century foreign debt. It reveals how British creditors, represented by their Committee of Mexican Bond holders and its agent, Francis Falconnet, negotiated payment in cash of 2.5 million of the indemnity money paid by the United States after the Mexican-U. S. War of 1846-1848. International financial transactions; French, U.S., and British government interests; and Mexican domestic politics and probably corruption in Mexico's political elite are among several themes in this essay.
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Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, no. 1 (1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.
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Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.
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Santos, Natália Gonçalves de Souza. "Metarromantismo em verso e prosa nos Ensaios Literários (1847-1850)." Travessias Interativas, no. 29 (May 22, 2023): 43–60. http://dx.doi.org/10.51951/ti.v13i29.p43-60.
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Este artigo discute textos escritos em verso e em prosa, publicados nos Ensaios literários, um dos mais importantes periódicos que circularam na Faculdade de Direito de São Paulo, no contexto do Romantismo. A partir de reflexões acerca do metarromantismo, o estudo procura compreender os usos e significados dos textos metaliterários, em função do cenário literário paulista e nacional.
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GEARY, JASON. "Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language." Journal of Musicology 23, no. 2 (2006): 187–226. http://dx.doi.org/10.1525/jm.2006.23.2.187.
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ABSTRACT In 1841, Sophocles's Antigone was performed at the Prussian court theater with staging by Ludwig Tieck and music by Felix Mendelssohn. Commissioned by King Friedrich Wilhelm IV, this production aimed to re-create aspects of Greek tragedy by, among other things, using J. J. Donner's 1839 metrical translation and having an all-male chorus sing the odes. Mendelssohn initially experimented with imitating the purported sound of ancient music by composing primarily unison choral recitative and limiting the accompaniment to flutes, tubas, and harps; but he quickly abandoned this approach in favor of a more traditional one. Yet despite his overall adherence to modern convention, he did employ several strategies to evoke ancient Greek practice and thus to meet the unique demands of the Prussian court production. Highlighting important distinctions between verse-types in the original poetry, Mendelssohn retained a vestige of his initial approach by composing unison choral recitative to indicate the presence of anapestic verse while turning to melodrama for the lyric verse of the play's two main characters. In addition, he reproduced the poetic meter by shaping the rhythm of the vocal line to reflect both the accentual pattern of Donner's translation and, in some cases, the long and short syllables of Sophocles's Greek verse. Owing largely to the irregular line lengths characteristic of Donner's text, the music is marked by conspicuously asymmetrical phrases, which serve to defamiliarize the otherwise straightforward choral styles being employed to convey the various moods of Sophocles's choruses. In the opening chorus, Mendelssohn alludes to the familiar sound of a Mäännerchor accompanied by a wind band, thereby suggesting the ode's celebratory and martial associations while recalling his own Festgesang written for the 1840 Leipzig festival commemorating the 400th anniversary of Gutenberg's printing press. The listener is thus presented with a thoroughly recognizable musical idiom and yet simultaneously distanced from it in a way that underscores the historical remoteness of ancient Greek tragedy.
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Hoagwood, Terence Allan. "Reading Adaptations: Novels and Verse Narratives on the Stage, 1790-1840. Philip Cox." Wordsworth Circle 31, no. 4 (2000): 217–18. http://dx.doi.org/10.1086/twc24044819.
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Moody, Jane. "Philip Cox's Reading Adaptations: Novels and Verse Narratives on the Stage, 1790–1840." Romanticism 7, no. 2 (2001): 233–34. http://dx.doi.org/10.3366/rom.2001.7.2.233.
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den Bergh, Carla Van. "Le rôle du verset lors de la transition du grand poème au petit poème en prose, dans les années 1830-1840 en France : pertes et profits." Études littéraires 39, no. 1 (2008): 25–41. http://dx.doi.org/10.7202/018100ar.
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Résumé Dans les années 1830-1840, la poésie biblique connaît une recrudescence en France. Durant ces mêmes années, la poésie en prose aboutit à la cristallisation du petit poème en prose, comme l’a montré Nathalie Vincent-Munnia. De la rencontre de ces deux tendances dérive déjà le poème en prose biblique, dont Christian Leroy a exposé la tradition de simplicité depuis Télémaque. La nouveauté réside dans l’attention portée au verset comme forme possible du poème en prose, dans la tradition du poème en prose biblique, mais aussi dans les tâtonnements formels et critiques autour du petit poème en prose. Le verset parvient-il à s’imposer comme forme inédite d’un genre nouveau de poème ? Ou son usage doit-il s’inscrire exclusivement dans le genre du grand poème ? N’est-il pas voué par son origine à porter des connotations éthiques pouvant être reversées à un usage polémique ou politique ? Une quête du verset se fait jour à cette époque. Dans la pratique, le verset se définit, d’une part, par le parallélisme, dans les pastiches bibliques, et, d’autre part, par un rythme hérité de la prose nombreuse, dans des oeuvres qui le marquent cependant de leur sceau didactique. Dans la critique littéraire, le verset apparaît comme une catégorie opératoire destinée à mettre en valeur un nouveau type de petit poème en prose. Identifié comme une forme brève et rythmée, le verset va dépendre, pour sa consécration, de l’évolution des genres de niveau supérieur.
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Ganter, Granville. "Lyrical Liberators: The American Antislavery Movement in Verse, 1831-1865 ed. by Monica Pelaez." African American Review 53, no. 1 (2020): 73–75. http://dx.doi.org/10.1353/afa.2020.0004.
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Da Silva, Evander Ruthieri. "Entre azagaias, carroças e espingardas." História da Historiografia: International Journal of Theory and History of Historiography 12, no. 31 (2019): 268–302. http://dx.doi.org/10.15848/hh.v12i31.1477.
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Apesar da fragmentação territorial que marcava a África do Sul na segunda metade do século XIX, esse período foi demarcado por significativas publicações que intencionavam fornecer coesão e unidade especialmente em tratados histórico-geográficos. O artigo versa a respeito da escrita do passado sul-africano do historiador George McCall Theal, com ênfase nas suas interpretações dos deslocamentos étnicos gerados a partir do Great Trek (1835-1846), período de migrações internas dos bôeres rumo ao interior do subcontinente, e do mfecane (c.1815-1835), termo associado ao expansionismo militar dos zulus na mesma região. A ênfase incide sobre as obras The History of the Emigrant Boers in South Africa (1888) e Progress of South Africa in the Century (1901). Publicadas em um período de intensas animosidades interétnicas ao sul da África, visavam fornecer uma versão coesiva do passado sul-africano, culpando os zulus pelo esvaziamento populacional nas décadas de 1820-1830 e legitimando as aspirações coloniais ao uso e posse de terras.
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V. Horváth, Károly. "Adalékok a Mombelli grófok genealógiájához." Verso – Irodalomtörténeti folyóirat 6, no. 2 (2023): 33–54. http://dx.doi.org/10.15170/verso.6.2023.2.33-54.
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Katona Józsefet szinte csak a nemzeti kánon részét képező Bánk bán szerzőjeként tartja számon a magyar irodalom- és színháztörténeti hagyomány, noha már az 1810-es években is meglepően gazdag és sokrétű munkássággal volt jelen a színházi világban. Az 1811-es év a fordítások éve volt. Ekkor készült fordításai közül azonban csak egy maradt ránk: A Mombelli grófok, vagy az atya és az ő gyermekei című darab, amely talán nem az első fordítása Katonának, de bizonyosan az elsők közé tartozik. Katona német forrásszövege maga is fordítás, mégpedig franciából. A dolgozat először áttekinti a darab leszármazási rendjéről − genealógiájáról − a magyar kutatásban megfogalmazódott elképzeléseket. Ezután javaslatokat tesz ezen elképzelések helyesbítésére. Majd pedig magyarázatot keres arra, hogy a Katona-kutatás miért halogathatta oly sokáig viszonylag könnyen kezelhető filológiai kérdések megoldását.
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Kilcup, Karen L. "Feeling American in the Poetic Republic." Nineteenth-Century Literature 70, no. 3 (2015): 299–335. http://dx.doi.org/10.1525/ncl.2015.70.3.299.
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Karen L. Kilcup, “Feeling American in the Poetic Republic” (pp. 299–335) Recent scholarship concerning nineteenth-century American poetry has challenged petrified attitudes that depict it as almost exclusively sentimental, unoriginal, and meritless. Yet, absent a historicized conceptual framework for assessing the considerable achievements of these poets, we still undervalue and oversimplify their work. Poetry reviews published between 1820 and 1840 show how properly calibrated emotion shaped readers’ tastes and identities, individual and national, in what I call the poetic republic: a country in which nearly everyone read, wrote, or heard verse. Critics’ appraisals intimate their anxious investment in creating authentic American poetry. Given British contentions that Americans were uncivilized, this anxiety coalesced around several related questions: How should writers approach the subject of Indians? What affective stances should poets assume? Was sentimental discourse, especially on Native Americans, inherently “savage”? This essay illuminates the period’s genre norms, concurrently questioning two current critical conventions. Demonstrating how poetry—including its producers and its publics—participated energetically in American nation-building, the essay complicates Benedict Anderson’s assumption that newspapers and novels singularly shaped national self-concepts. It also establishes how sentimentalism was attacked much earlier than today’s scholarship asserts. Simultaneously accommodating and disciplining wilderness (whether formulated as untamed nature and its wild inhabitants, or as uncontrolled, feminized sentimentality), reviewers collectively endorsed dispassionate, elevated nature poetry—often inhabited by Native Americans—as prototypically American, while they disparaged affective excess that they typically gendered as feminine. These verse norms strongly impacted the reception and reputations of the period’s two principal poets, William Cullen Bryant and Lydia Sigourney.
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Hicks, Mary E. "Financing the Luso-Atlantic Slave Trade, 1500–1840." Journal of Global Slavery 2, no. 3 (2017): 273–309. http://dx.doi.org/10.1163/2405836x-00203004.
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Between 1500 and 1840, ships under Portuguese colors embarked more than 5 million enslaved men, women and children from the coasts of Africa. Despite its position as the preeminent slave trading empire in the Atlantic World, no studies have systematically traced the evolution in maritime investment practices in Portugal and its American colonies which propelled this massive forced transportation of captive Africans. Beginning with Portuguese merchants’ earliest forays into Atlantic trade, on the West African island of Cabo Verde in the fifteenth century, maritime cargoes were collectively owned through the distribution of small shares. Drawing on medieval Mediterranean precedents, these collective, legally constructed partnerships opened early transoceanic trading opportunities to a diverse group of traders, colonists, and mariners, creating a decentralized mercantile trade which diffused profits throughout slave trading communities. Slaving merchants in Salvador da Bahia adopted this collectivist model of investment by the early eighteenth century, converting commercial disadvantages into a prosperous and durable trade which wove together the economic interests of a heterogeneous cross-section of Salvador’s inhabitants—including merchants, their families and slaves, and mariners—within the business of slaving. This article traces the persistence of this financial strategy, and argues that it enabled the longevity of the transatlantic slave trade in Salvador.
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CUNHA, ROSANA, MARCOS TAVARES, and JOEL BRAGA JR DE MENDONÇA. "Asteroidea (Echinodermata) from shallow-waters of the remote oceanic archipelago Trindade and Martin Vaz, southeastern Atlantic, with taxonomic and zoogeographical notes." Zootaxa 4742, no. 1 (2020): 31–56. http://dx.doi.org/10.11646/zootaxa.4742.1.2.
Testo completoAbstract (sommario):
Trindade and Martin Vaz (TMV) is a highly isolated, oceanic volcanic archipelago located approximately 1200 km off the Brazilian coast and about 4200 km away from the nearest African coast. It has been almost 70 years since the first sea star, “Astropecten sp.”, was recorded from Trindade in 1951. In the following years (1955–1971; 2006) six sea star species were added to the archipelago’s fauna. After that period, however, research on shallow water echinoderms has not been conducted in TMV and no further sea star species have been recorded from there since. From 2012 to 2019, 263 daytime SCUBA diving and intertidal samplings conducted at TMV yielded 91 lots of sea stars in 7 species: Linckia guildingi Gray, 1840; Oreaster reticulatus (Linnaeus, 1758); Astropecten aff. antillensis Lütken, 1859; Copidaster lymani A. H. Clark, 1948; Luidia alternata alternata (Say, 1825); Mithrodia clavigera (Lamarck, 1816); and Ophidiaster guildingi Gray, 1840. The last five species in this list represent new records to the archipelago, with C. lymani also being the first record of the species in the southwestern Atlantic. Five shallow water species previously known from TMV have not been observed in the present survey: Asterinides folium (Lütken, 1860), Astropecten brasiliensis Müller & Troschel, 1842, Astropecten cingulatus Sladen, 1883, Linckia nodosa Perrier, 1875, and Ophidiaster alexandri Verrill, 1915. Twelve sea star species are currently known from shallow waters of TMV. A list of all sea star species known from shallow waters (intertidal down to 100 meters) of the tropical southern-central Atlantic oceanic archipelagoes and islands (Ascension, Cape Verde, Fernando de Noronha, Gulf of Guinea, Rocas Atoll, Saint Helena, Trindade and Martin Vaz) with their gross distribution in the Atlantic Ocean was compiled in order to explore the existence of patterns of geographic distribution for the shallow water sea star species in the tropical southern-central Atlantic oceanic islands. It has been found that 44% of the species from TMV are of western Atlantic affinity, 33% amphi-Atlantic, and 22% circumtropical in distribution. No endemic sea star species are known from TMV to date. The even more remote Ascension (ASC) and Saint Helena (STH) are more of a mosaic than TMV. The ASC and STH fauna consist of 8 and 11 sea star species, respectively. Their endemic component totals to 25% and 27%, respectively. STH has more amphi-Atlantic and eastern Atlantic sea star species (27% each) than ASC (25% and 12.5%, respectively). Twenty-five percent of the sea star species in ASC are circumtropical in distribution, whereas no circumtropical species have been found in STH. The western Atlantic (WA) component comparatively to the eastern Atlantic (EA) one is of minor significance in STH (18% versus 27%, respectively), whereas the WA and EA components contribute equally to the taxonomic composition in ASC (12.5% each). However, patterns of faunal affinities in both islands are actually taxon-dependent.
22
VICINUS, MARTHA. ""Sister Souls": Bernard Berenson and Michael Field (Katherine Bradley and Edith Cooper)." Nineteenth-Century Literature 60, no. 3 (2005): 326–54. http://dx.doi.org/10.1525/ncl.2005.60.3.326.
Testo completoAbstract (sommario):
In the 1890s the poet Michael Field-the lesbian aunt-and-niece couple, Katharine Bradley (1846 -1914) and Edith Cooper (1862-1913)-were close friends with the art connoisseur Bernard Berenson (1865-1959). Under the influence of Walter Pater,the three avidly discussed the connections uniting the artwork, viewer, and artist. Critics have long known that Cooper fell passionately in love with Berenson, but no one has examined this relationship closely. This essay uses the Michael Field poems, letters, and diaries to explore the impact of falling in love with a man on the Bradly-Cooper relationship and their poetry. Cooper felt that she and Berenson were faun-like creatures who instinctively understood each other on a deeper level than the physical. Berenson sought Cooper's ethereal independence while he was courting a married woman;Cooper turned to him when she wanted a more separate life from her aunt. Berenson never forgot Cooper's intense emotional response to visual art, a response that represented his aesthetic ideal. Cooper experienced a burst of creativity, reliving her intoxicating love in verse and prose. Bradley, as the older woman, struggled to reconcile herself to this attractive, destructive male intrusion into Michael Field's poetic and personal "oneness." The three drew on the emotions that they stirred in each other as a source of inspiration, but each discovered that emotion can outrun aesthetics.
23
Anokhina, Yuliya Yu. "Spatial Images in Baratynsky’s Late Lyrics: Aesthetic and Metaphysical Aspects." Transcultural Studies 15, no. 2 (2019): 91–101. http://dx.doi.org/10.1163/23751606-01502001.
Testo completoAbstract (sommario):
The article is devoted to the question of how in the late lyric of the Russian poet of Pushkin’s circle Yevgeny Abramovich Baratynsky (1800–1844), namely in his final book of verses Sumerki [Twilight] (1842), in spatial images metaphysical and aesthetic principles are reflected. The author focuses on three ‘programmatic’ poems: Knjazju Petru Andreevichu Vjazemskomu [an epistle to Prince Pyotr Andreyevich Vyazemsky] which opens the poetic book, a poem Osen [Autumn], kind of coda of Sumerki and poem Rifma [Rhyme], which placed in the final of the book. The embodiment of the synthesis of metaphysical and aesthetic principles in spatial images is considered on the example of images of a coffin and a grave. The article shows that the analysis of these images makes it possible to better understand the uniqueness of the artistic philosophy which reflected in the book. The author comes to the conclusion that images of the coffin, the tomb and the grave affect the specifics of the artistic space in the poetic book, performing aesthetic functions. At the same time, directly connected with the motives of death and the memory of death, these images allow the poet to express more clearly the philosophical thoughts about the idea of that the place of poetry and of art in general in the world.
24
Mihuţ, Cosmin. "An Elite of Transition. The National Party from Wallachia (1838-1840)." Polis 18, no. 1 (2019): 23–38. http://dx.doi.org/10.58944/uxrk7834.
Testo completoAbstract (sommario):
From the years of the Russian occupation (1829-1834), the power of words and the political rhetoric started to exceed the traditional framework, becoming in time the main horizon of affirmation, reproduction and legitimation of power in the Principalities. The traditional structure of the public space, of symbolical averment of the princely power, started to erode allowing the emergence of a public political language that ‘freed’ the political act from the narrow framework of boyar bargains, mediations, conspiracies. Being at the border of tradition and modernity, the practices of the National Party had features specific to both, combining new ideas with older practices and vice-versa. Unlike previous political groups, which extracted their power legitimacy through patronage over society and by managing the social relations (controlling offices), this group differentiated itself by using a public discourse, built on rational criteria (law, liberty), which offered the group a shared identity, appropriated in a political project.
25
FONTOURA, PAULO, GIOVANNI PILATO, and OSCAR LISI. "Tardigrada from Santo Antão Island (Archipelago of Cape Verde, West Africa) with the description of a new species." Zootaxa 2838, no. 1 (2011): 30. http://dx.doi.org/10.11646/zootaxa.2838.1.2.
Testo completoAbstract (sommario):
Three tardigrade species from Santo Antão Island, Archipelago of Cape Verde are firstly reported from Republic of Cape Verde: Echiniscus scabrospinosus Fontoura, 1982, Echiniscus clavispinosus sp. nov. and Milnesium tardigradum Doyère, 1840. E. clavispinosus sp. nov. belongs to the ‘viridis group’ of species characterized by the green colour and plate ornamentation comprised of tubercles, fine dots and light spots, by lacking dorsal and lateral trunk appendages (cirrus A excluded) and well developed claws. E. clavispinosus sp. nov. differs from all the known species of the ‘viridis group’ in having the area between the paired plate III and the terminal plate unsculptured, in details of the cuticular ornamentation, pointed clavae instead of papillate apices, and stronger spur on internal claws. A dichotomous key to the species of the Echiniscus viridis group and a list of Macaronesian species are also given.
26
Mazel, Adam. "“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI." Victorian Literature and Culture 44, no. 3 (2016): 511–33. http://dx.doi.org/10.1017/s1060150316000073.
Testo completoAbstract (sommario):
Throughout her life, Christina Rossetti was an enthusiastic writer and player of word games in verse. When she was seventeen, for instance, she spent the summer of 1848 in Brighton playing bouts-rimés sonnets with her brother, William. Together they timed themselves to see how fast they could write lines of verse to a given set of end rhymes: “emotional devastation in ten minutes or less,” Anne Jamison wittily puts it (145). Two years later, Rossetti published under her initials instances of different word games – an enigma (“Name any gentleman you spy”) and a charade (“My first is no proof of my second”) – as part of a series of riddling word games in verse by various authors in the Marshall's Ladies Daily Remembrancer: For 1850. They count among Rossetti's first poetic publications. These popular riddling genres, while perhaps less familiar to readers today, were immediately recognizable to Rossetti's contemporaries. In his 1872 riddle anthology, Guess Me, F. D. Planché defines an “Enigma” as a riddle in verse, or “the most ancient form of Riddle . . . often a real poem as well as a question for solution” (3). In the 1891 Cornhill Magazine, the article “Riddles” glosses a “charade” as a riddle that “turns upon the letters or syllables composing a word” (518). By publishing an enigma and a charade in Marshall's Ladies Daily Remembrancer, an inexpensive pocket book for women, Rossetti capitalized on the association of these genres as written by and for middle-class women, a point that I will argue in more detail later.
27
Schwab, Christiane. "Sailors, Book Hawkers, and Bricklayer’s Laborers." Nineteenth-Century Literature 76, no. 4 (2022): 403–26. http://dx.doi.org/10.1525/ncl.2022.76.4.403.
Testo completoAbstract (sommario):
Christiane Schwab, “Sailors, Book Hawkers, and Bricklayer’s Laborers: Social Types and the Production of Social Knowledge in Nineteenth-Century Periodical Literature” (pp. 403–426) This essay explores how the modern obsession with systems of human classification manifested and spread in an increasing market of periodical literature in nineteenth-century Europe. It examines the various epistemic and rhetorical techniques of social typification developed in “sociographic” sketch writing, focusing on examples from the multiauthored serials Heads of the People; or, Portraits of the English (1840–41) and Les Français peints par eux-mêmes (1840–42). The essay claims that, by combining depictions of social types with political commentary, economic and sociohistorical considerations, and satirical allusions, the epistemic-narrative strategy of typecasting met the educational and entertainment needs of a growing reading public. It furthermore evaluates the works of investigative reporters such as Henry Mayhew and Angus Bethune Reach as interfaces between journalistic-literary and “scientific” ways of social study. The essay aims to stimulate an understanding of literary typecasting as a sort of “popular sociology” by interpreting the popularity of typecasting in the context of an increased interest in social structures on the verge of modernity, expressed in prose and arts as well as social thought.
28
Ilyina, Natalia K. "SHAKESPEARE’S «THE TAMING OF THE SHREW» IN PROSAIC TRANSLATIONS BY N.KH. KETCHER AND A.N. OSTROVSKY." Vestnik of Kostroma State University 29, S (2023): 51–58. http://dx.doi.org/10.34216/1998-0817-2023-29-s-51-58.
Testo completoAbstract (sommario):
Two prosaic translations of W. Shakespeare’s comedy ‘The Taming of the Shrew’ are compared in the article. The translations belonged to N.Kh. Ketcher (1843) and A.N. Ostrovsky (1850). The comparison of the texts and other variants of the comedy by both translators makes it possible to conclude that Ostrovsky followed Ketcher’s faithful rendering of the original in his translation; that was what he was especially noted for by his contemporaries. Ostrovsky turned to this comedy with the purpose of studying English and the fundamentals of translation. That is why his first steps in the new sphere were not quite independent, he relied on his experienced ‘teacher’ and aimed at mastering one of the basic principles of translation – preserving the sense of the original. In future it would help him to convert the exact interlinear translation into verse.
29
Greene, Diana. "The Menagerie or the Visitor’s Pass? Aleksandra Zrazhevskaia and Praskov’ia Bakunina on Russian Women Writers." Carl Beck Papers in Russian and East European Studies, no. 1803 (January 1, 2007): 62. http://dx.doi.org/10.5195/cbp.2007.132.
Testo completoAbstract (sommario):
This article examines an 1842 literary exchange between Aleksandra Zrazhevskaia (1805-1867) and Praskov’ia Bakunina (1810-1880?) concerning the place of women writers in nineteenth-century Russian literature. It is followed by a translation of the exchange itself. Zrazhevskaia’s “Zverinets” (The Menagerie), a formally innovative work of literary criticism addressed in part to Bakunina, challenged the social norms that discouraged women’s writing, as well as the men literary critics who enforced them. In a verse epistle response, Bakunina repudiated Zrazhevskaia’s ideas, maintaining that Russian men critics will extend hospitality and courtesy to women writers who comport themselves as guests in the men’s club of Russian letters. The exchange raises questions about the critical reception of women writers in mid nineteenth-century Russia, women as literary critics, and the gendering of nineteenth century literary movements and aesthetics, which are discussed in relation to the wider pan-European literary climate of the time.
30
Montero, Andrea, and José Aurelio Sandí. "Contaminación de aguas por el beneficiado del café en Costa Rica entre 1840 y 1910." Revista de Ciencias Ambientales 37, no. 1 (2009): 30. http://dx.doi.org/10.15359/rca.37-1.4.
Testo completoAbstract (sommario):
La contaminación con las aguas mieles del café debe ser entendida como un “conflicto de contenido ambiental”. En este sentido, resulta necesario contextualizarla, pues la teorización de los que son conflictos ambientales ha suscitado cierto debate dentro de la academia, sobre todo después de la difusión exitosa de la teoría del “ecologis-mo popular” (Joan Martínez-Alier y Ramachandra Guha). En vista de lo anterior, en este artículo se aborda la temática de la contaminación de aguas superficiales con mieles de café aludiendo a los discursos que articularon la población civil, como parte demandante, y los beneficiadores del la fruta, como parte demandada. Asimismo, se versa sobre las respuestas estatales y privadas ante la contaminación de las fuentes de suministro hídrico.
31
Santos Conde, Héctor Eulogio. "Del canto llano a la ópera italiana”: el verso orquestal en España entre c. 1780 y c. 1840." Cuadernos de investigación musical, no. 16 (July 30, 2022): 50–92. http://dx.doi.org/10.18239/invesmusic.2022.16.03.
Testo completoAbstract (sommario):
La composición de versos orquestales tuvo un modesto pero significativo arraigo en las catedrales españolas durante las décadas finales del siglo XVIII y la primera mitad del XIX, como evidencian las 48 fuentes con 75 composiciones localizadas en siete instituciones. En este texto analizo, primeramente, en qué momentos ceremoniales de la liturgia catedralicia podían interpretarse este tipo de piezas. Asimismo, ofrezco una aproximación a los distintos recursos empleados para componer estas obras: desde la integración del canto llano como cantus firmus, pasando por el uso de procedimientos característicos de géneros instrumentales como el concierto para solista, hasta la adaptación de números extraídos de óperas italianas de la primera mitad del siglo XIX. Por último, este estudio pretende situar este género en un contexto internacional más amplio, mediante la comparación de los versos orquestales españoles con sus homólogos mexicanos.
32
Ottoni, Felipe, and Wilson Costa. "Description of a new species of Laetacara KULLANDER,1986 from central Brazil and re-description of Laetacara dorsigera (HECKEL,1840) (Labroidei: Cichlidae: Cichlasomatinae)." Vertebrate Zoology 59, no. 1 (2009): 41–48. http://dx.doi.org/10.3897/vz.59.e30946.
Testo completoAbstract (sommario):
A new species of Laetacara is described from the rio Verde, rio Araguaia basin, São Miguel do Araguaia, Goiás, Brazil; L. dorsigera is re-described. The new species from the rio Verde, rio Araguaia differs from all the species of the genus by its low dorsal-fin ray number. It is distinguished from L. thayeri by the presence of a caudal-fin peduncle spot and by the presence of cycloid scales on side of head. The new species also differs from L. fulvipinnis and L. fl avilabris by some meristic characters. It differs from L. dorsigera by a narrow ectopterygoid and by some meristic characters, and from L. curviceps and L. dorsigera by the lack of a spot on dorsal fin. Laetacara dorsigera differs from L. curviceps and the new species from the rio Verde, rio Araguaia basin by a wide ectopterygoid and by some meristic and morphometric characters; it is distinguished from the other species of the genus by some morphometric and meristic characters.
33
Yudkin-Ripun, Ihor. "Austrian and Jewish German-Speaking Ukrainophiles from the Spring of Nations to the Holocaust: the Problem of European Identity." Folk art and ethnology, no. 3 (September 30, 2023): 74–77. http://dx.doi.org/10.15407/nte2023.03.074.
Testo completoAbstract (sommario):
The article deals with the problem of the so-called imagology concerning the formation of a stranger’s image. In particular, in the German-speaking area, the image of Ukraine as the European Eastern frontier dates back to the epoch of Enlightenment, with the paragon being a Christian Fürchtegott Gellert's novel (1715–1769) from 1747 about the fate of the Swedish warriors exiled to Siberia. One of the novel’s peculiarities is that the heroes of the narration include a Polish Jew as an intermediary between Europe and the Siberian world. The next writer that has contributed to the German image of Ukraine was Friedrich Martin von Bodenstedt (1819–1892), who compiled the collection of the Ukrainian folklore Poetical Ukraine (1845). Within the Austro-Hungarian state, we can find especially favourable conditions for the development of images of Ukraine as evidenced, in the second half of the XIXth century, by such personalities as Leopold Ritter von Sacher-Masoch (1836–1895) and Karl Emil Franzos (1848–1904). Of importance is the circumstance that the Halychyna Ukrainians and Jews are considered as the representatives of ethnic groups with such fates that are to be compared. In the XXth century, there are at least four persons worth mentioning. First of all, it is Wilhelm Franz von Habsburg-Lothringen (of the Emperor’s House, 1895–1948), who travelled incognito across the Carpathian lands and wrote verses in Ukrainian under the pseudonym Vasyl Vyshyvanyi. Another representative was Juliana Schneider (1860–1947), who belonged to the circle of Ivan Franko’s acquaintances and has entered the Ukrainian literature with the name Uliana Kravchenko. It was Joseph Roth (1894–1939) who essentially contributed to the promotion of images of Ukraine in Europe constantly describing Halychyna Ukrainians. It is due to his stories that the Europeans have got the opportunity of becoming acquainted with the particulars of the contemporary Ukrainian daily life in the 1920s. Jona Gruber (1908–1980) became a German-speaking Ukrainian writer and contributed to German translations of Lesia Ukrainka works.
34
Darde, Augusto. "Correspondências e sinestesias quando Baudelaire aprecia Delacroix." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 1 (2020): 115–43. http://dx.doi.org/10.22456/2596-0911.98990.
Testo completoAbstract (sommario):
O poeta francês Charles Baudelaire (1821-1867) foi também tradutor, ensaísta e crítico de arte. Em relação à produção poética, é considerado o precursor do simbolismo, a partir da sua obra LesFleursdu mal, de 1857; na figura do ensaísta, elaborou o conceito de modernidade, referência para a criação artística, os Estudos Literários e a Filosofia. O presente trabalho explora a influência da linguagem poética no seu trabalho de ensaísta e crítico, e vice-versa, buscando compreender a noção das "Correspondências" exposta no poema homônimo do livro de 1857. Analisaremos, com ênfase nos textos sobre a obra do pintor EugèneDelacroix (1798-1863), de que maneira as correspondências e transposições entre pintura, poesia e música já estavam presentes no olhar do jovem crítico de arte.Palavras-chave: Poesia. Pintura. Correspondências. Sinestesia.
35
O'Gorman, Francis. "MICHAEL FIELD AND SAPPHIC FAME: “MY DARK-LEAVED LAURELS WILL ENDURE”." Victorian Literature and Culture 34, no. 2 (2006): 649–61. http://dx.doi.org/10.1017/s1060150306051369.
Testo completoAbstract (sommario):
Long Ago(1889), Michael Field's inaugural collection of verse, celebrated Sappho, the ancient poetess of Lesbos. The volume proclaimed the diversity of her sexuality; it saluted verse that was connected to the self; and it urged the authenticity of her creative force in ages beyond her death. Taking surviving fragments of Sapphic writing as embarkation points for new poems in her spirit, Michael Field, the joint pseudonym of the two poets Katherine Bradley (1846–1914) and Edith Cooper (1862–1913), hailed the continuing presence of the Greek in the modern age, drawing the reader back to an imagined version of Sappho's mind and experience, her desires and troubles, of which history held so slight a record. Developing ideas articulated by Robert Browning, particularly in the opening book ofThe Ring and the Book(1868–69),Long Agodiscerned in poetry a way of regenerating the energy – or of creating the illusion of such regeneration – of an almost-lost, but indisputably authentic person from the ancient Mediterranean. The volume privileged a post-Romantic assumption about the signal importance of the self behind writing, the complexities and contradictions of which I explore here, and it understood modern poetry's dealings with a nearly vanished Greece as recuperative of a nearly disappeared artist. As such,Long Agoimplicitly imagined the work of the contemporary poet as, to use Robert Browning's word, a matter of “galvanism” (Browning I.740): the calling back into the present of the lost forms of distant lives.
36
Valjevac, Mensur, and Mina Valjevac. "ODABRANOST I VRIJEDNOST EHLI-BEJTA." Zbornik radova 14, no. 14 (December 15, 2016): 115–44. http://dx.doi.org/10.51728/issn.1840-4448.2016.14.115.
Testo completoAbstract (sommario):
According to the Qur’an and Hadith the Prophet of Allah, Muhammad, peace be upon him, is the most exceptional slave and Prophet of Allah, and his family presents the most exceptional family. Its value is being indicated directly and indirectly by the Qur’an verses as well as by the hadith of the Prophet of Allah, may Allah send blessings and peace upon him. The imperative of seeking the blessing for the Prophet of Allah, peace be upon him, implies also seeking the blessing for his family. The value of the Ahlul Bayt is also seen in the fact that the Prophet, peace be upon him, gave some hints that in the Last Era (Akhir Zaman), a man from his Ahlul Bayt, will be properly guided and given (mehdijj) to the Earth and all its inhabitants to reestablish the disturbed balance and harmony on it, which after being filled with injustice will be filled with justice. Some descendents of the Prophet, peace be upon him, his Ahlul Bayt, are not worthy of their origin. The moral believers who avoid sins and are afraid of Allah are members of his, peace be upon him, blessed family. The love for the Prophet’s, peace be upon him, family is a duty but it might have its opposite due to its disregard, and also its extreme due to the exaggeration.
37
Anokhina, Yu Yu. "The «metaphysics» of emptiness in Boratynsky's poetry." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 154–66. http://dx.doi.org/10.17588/2076-9210.2019.4.154-166.
Testo completoAbstract (sommario):
The paper is devoted to the late lyrics of E. A. Boratynsky (1800-1844), namely his final book of verses Twilight (1842). The question of how the motif of emptiness functions in this work is considered. The study of this issue uses the philological method of motifs analysis, as well as the possibility of hermeneutic and structural-semantic methods of research. It is shown that one of the functions of the motif of emptiness is that it appears as a property of objects of the immaterial world: emptiness is understood as the absence of value and cognitive meanings. The author considers the question of how these types of values are interrelated. The article demonstrates that the motif of emptiness is involved in the structuring of the artistic space of Boratynsky's book, and analyzes the idea of emptiness as a property of spatial images embodied in the book. It is shown that the image of the desert is one of the most significant in the book, in the article it is considered in relation to the image of the desert. In addition, in "Twilight" the idea of emptiness is embodied as a property of time, emptiness appears as characteristic of the individual-personal being of the sub-ject in the book of poems by Boratynsky, the motif of emptiness is ontological, since emptiness is correlated with the category of non-existence. The author shows that the analysis of the motif of emptiness allows us to better understand the essence of the romantic conflicts reflected in the book: the opposition of the poet and society, and at the same time, the internal conflict of the lyrical hero of Twilight. As a result of the analysis, the author concludes that one of the foundations of the artistic philosophy reflected in the work is the search for ways to overcome the emptiness- meaninglessness of being.
38
McKelvy, William R. "PRIMITIVE BALLADS, MODERN CRITICISM, ANCIENT SKEPTICISM: MACAULAY’S LAYS OF ANCIENT ROME." Victorian Literature and Culture 28, no. 2 (2000): 287–309. http://dx.doi.org/10.1017/s106015030028203x.
Testo completoAbstract (sommario):
ONE OF THE BEST selling volumes of Victorian verse, as Donald Gray has shown, was Thomas Babington Macaulay’s The Lays of Ancient Rome first published in 1842 (Complete Writings 19: 167–279). For a generation after its publication, the Lays also generally enjoyed the praise of critics and poets.1 But in 1860, just months after Macaulay had been interred in Poets’ Corner, Matthew Arnold offered up the Lays as a touchstone of the grandly bad. In his lectures On Translating Homer, Arnold said that “a man’s power to detect the ring of false metal in those Lays is a good measure of his fitness to give an opinion about poetical matters at all” (1: 211). Arnold’s put-down was echoed in later works such as Thomas Humphry Ward’s multi-volume anthology The English Poets (1880), which opened with Arnold’s essay “The Study of Poetry.” Ward cited the continuing popularity of the Lays, but he pointed out that “the higher critical authorities have pronounced against them, and are even teaching us to wonder whether they can be called poetry at all. They find in the Lays the same faults which mar the author’s prose — commonplaceness of ideas, cheapness of sentiment and imagery, made to prevail by dint of the writer’s irresistible command of a new rhetorical force; in a word, eloquent Philistinism” (4: 540).
39
Bickle, Sharon. "DISABILITY AND GENDER IN THE VISUAL FIELD: SEEING THE SUBTERRANEAN LIVES OF MICHAEL FIELD'S WILLIAM RUFUS." Victorian Literature and Culture 40, no. 1 (2012): 137–52. http://dx.doi.org/10.1017/s1060150311000283.
Testo completoAbstract (sommario):
When the UK'sGuardiannewspaper featured “La Gioconda” as poem of the week in January 2010, the paper's popular readership discovered what many late-Victorian scholars had known about for some time: the poetic partnership of Katharine Bradley (1846–1914) and Edith Cooper (1862–1913), known as “Michael Field.” The successful recovery of the Fields as significant late-Victorian writers – a project now in its second decade – seems poised to emerge into popular awareness driven as much by interest in their unconventional love affair as by the poetry itself. Scholars too have been seduced by the romance of a transgressive love story, and the critical nexus between sexuality and textuality has produced remarkable scholarship on the Fields’ lyric poetry: those texts in which the personas have a rough equivalence with Bradley and Cooper themselves. Yopie Prins first noted the complex engagement of multiple voices with lyric structure in Long Ago (74–111), and Ana Parejo Vadillo (Women Poets 175–95), Jill Ehnenn (73–96), and Hilary Fraser (553–56) expanded on this to uncover the transformation of the lyric's male gaze into a triangulated lesbian vision in Sight and Song (1892). In contrast to the recognition accorded their lyric verse, most critics have overlooked Michael Field's verse dramas. While there have been attempts to shift attention onto the plays, the significance of the Fields’ lesbian vision to the dramas has never been explored. This article seeks to redress this pervasive neglect and begin dismantling the boundaries that have grown up between critical approaches to the lyrics and the plays.
40
Mazurkiewicz, Adam. "U źródeł gotycyzmu." Literatura i Kultura Popularna 25 (July 28, 2020): 533–36. http://dx.doi.org/10.19195/0867-7441.25.31.
Testo completoAbstract (sommario):
Polska ballada gotycka [The Polish Gothic Ballad] by Paweł Pluta, is one of a few, and one of the first complete case studies in Polish humanities whose reminiscence has had a huge impact on the shape of modern culture (not only popular culture).Pluta focuses on works created between 1771–1830. The author argues that the gothic ballad has its roots in literary communication, when the translations of Phillippe Habert’s Le Temple de la Mort (1633) (pp. 36–37) by Adam Stanisław Naruszewicz and Mateusz Czarnek were published. Pluta treats these first translations as the “beginning of literary Gothicism in Poland” (p. 37). In the institutional and ideological context, it is a significant statement, as Habert was a part of the Académie des Illustres Bergers group which gathered writers fascinated by pastoral poetry. Thus, such a choice of inspirations of the Polish “gothic poets” makes it possible for Pluta to combine the two types of gothic ballad, one related to horror and the other to history. On the other hand, in the context of importance of 1830, the author alleges the opinion of Zyg-munt Krasiński from 1831 (p. 194); it seems all the more important, as in his youth the writer created gothic horror stories (for instance his debut Grób rodziny Reichstalów [The Tomb of the Reichstal Family] 1828, Mściwy karzeł i Masław książę mazowiecki [The Vindictive Midget and Masław the Mazovian Prince] 1830). It is important to remember that the gothic imaginarium (especially its hor-ror kind) permeated to lyric poetry and other genres (e.g. verse novel) and still left room for creative potential. Thus, the year 1830 marks not the end of some of tendencies, but rather their turning point. It is worth mentioning Pluta’s monograph published by The Institute of Literary Research; its bibliography is not listed in alphabetical order but in a chronological one and the dates of the first edi-tions of each source are included. This indicates not only the scientific meticulousness of the publisher, but also the awareness that in the times of the internet and easy access to library and archival resources, the reader may wish to study not only the modern editions of a given text, but also the original.
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Lu, Yu, Joris Van Ouytsel, and Jeff R. Temple. "In-person and cyber dating abuse: A longitudinal investigation." Journal of Social and Personal Relationships 38, no. 12 (2021): 3713–31. http://dx.doi.org/10.1177/02654075211065202.
Testo completoAbstract (sommario):
While studies have identified associations between cyber and in-person dating abuse, most research has relied on cross-sectional data, limiting the ability to determine temporality. This study tested the longitudinal associations between cyber and physical and psychological forms of in-person dating abuse. Data were from an ongoing longitudinal study following a group of high school students originally recruited in Southeast Texas, US, into their young adulthood. Three waves of data (Waves 4–6) were used, with each wave collected one year apart. At Wave 4, participants’ age ranged from 16 years to 20 years (mean = 18.1, median = 18.0, SD = .78). The analytical sample consisted of 879 adolescents/young adults (59% female, 41% male; 32% Hispanics, 28% Black, 29% White, and 11% other) who completed the dating abuse questions. Cross-lagged panel analysis showed that dating abuse victimization and perpetration were predictive of subsequent dating abuse of the same type. Cyber dating abuse perpetration was found to predict subsequent physical dating abuse perpetration as well as physical dating abuse victimization, but not vice versa. Further, cyber dating abuse perpetration predicted psychological dating abuse victimization, but not vice versa. Cyber dating abuse victimization was not significantly associated with either physical or psychological dating abuse temporally. Overall, findings suggest that cyber dating abuse perpetration may be a risk marker for both physical and psychological forms of in-person dating abuse. Interventions may benefit from targeting cyber dating abuse perpetration as means to prevent in-person dating abuse.
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Tereshkina, Daria. "“RELIGIOUS FEELING” IN THE SHORT NOVEL (POVEST') BY V. F. ODOEVSKY “THE UNSPENT HOUSE”." Проблемы исторической поэтики 20, no. 1 (2022): 149–67. http://dx.doi.org/10.15393/j9.art.2022.10582.
Testo completoAbstract (sommario):
The article offers an analysis of V. F. Odoevsky's short novel (povest’) “The Unspent House” (1840) in the context of its reflection of the “religious feeling” that was characteristic of writer-encyclopedist V. F. Odoevsky throughout his life. In the “The Unspent House”, which combines the traditions of a romantic short novel (povest’) with elements of fiction, ancient Russian legend, hagiographical texts, apocrypha, spiritual verse, “religious feeling” is manifested not only in the syncretic poetics of the work, where the gospel text sounds most clearly, but also at the level of understanding Christianity as a nationwide “religious feeling” with the most diverse connotations, but with the general meaning of forgiveness, mercy and love. The spiritual poems, whose publication V. F. Odoevsky later actively participated in, were the likely sources of the short novel (povest’). Works of medieval literature (“The Walk of the Virgin in Torment”, “The Tale of Savva Grudtsyn”) may have been the sources of the “legend”; parallels are also found with hagiographic literature. The “religious feeling” of V. F. Odoevsky, as stated in the article, intended to unite different layers of the Russian Christian culture. It asserted “joyful Christianity,” which was characteristic of book culture and oral folk art, and based on the belief in the power of mercy, compassion for sinners and the ultimate salvation of the soul.
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Yim, Young-gil. "Establishment and Poetic imagery of Yukyuk-dong, a scenic spot in Pyeongan-do in the Late Joseon Dynasty." Daedong Hanmun Association 78 (March 30, 2024): 219–56. http://dx.doi.org/10.21794/ddhm.2024.78.219.
Testo completoAbstract (sommario):
This article introduces Yukyuk-dong (or thirty six Dongcheon) in Samdeung-hyeon, which was highlighted in the 19th century as one of the famous scenic spots in Pyeongan-do, and explains the origins of the names of the 36 Dongcheon and the characteristics of the Chinese poem ‘Yukyuk- dong’ created based on each Dongcheon. The extant Chinese poems based on Yukyuk-dong were mostly written in the 19th century, and the tendency of some writers to form a series of 36 poems is captured. Eom Gi (1760~1820), who first gave names to the 36 Dongcheon in Yukyuk-dong at the end of the 18th century, revealed the origins of each Dongcheon and reproduced the actual scenery into 36 poems composed in seven-word verse. While projecting legends related to immortals, he paid attention to topographical characteristics such as strangely shaped rocks, cliffs, waterfalls, and the unique flow of rivers, and expressed each Dongcheon by reflecting the natural phenomena or human activities he captured. Eom Gi's poem had a profound influence on the creation of a series of poems by the group of Shin Heon, Jo Yeon-myeong, Kim Hyeon-eung, and Lee Heon-myeong while touring Yukyuk-dong in 1837. Each of these four people's exchanging poems is compiled together with Eom Gi's poem under the title Yukyuk Yeonhwa, and generally uses materials similar to Eom Gi's to establish the image of Yukyuk-dong. Meanwhile, in the early 19th century, Shin Wi (1769~1845), Jo Deuk- young (1762~1824), and Jeong Won-yong (1783~1873), each wrote 36 poems composed in five-word verse to describe Yukyuk-dong. They connected the history of immortals and Buddhist legends, Chinese writers, and place names etc with the poems but embodied in different content from Eom Gi's poem. The series of ‘Yukyuk-dong’ poems created by 19th century writers not only contributed to securing the status of Yukyuk-dong as a scenic spot, but are also significant in that they show an aspect of the cultural phenomenon of discovery and enjoyment of scenic spots.
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Schewe, Manfred. "Theatre and Obstinacy – a Friend’s Perspective." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 1 (2015): 144–47. http://dx.doi.org/10.33178/scenario.9.1.9.
Testo completoAbstract (sommario):
If somebody living in Dublin and preparing a solo-performance for an academic audience in Cork retreats to a location in Berlin to rehearse for his upcoming show – isn’t that somewhat peculiar? One evening in the winter of 1801 I met an old friend in a public park.2 That is the beginning of the text my friend Peter was reciting as he strolled through the Kleistpark in Berlin. I imagine the way he circles, at a leisurely pace, around the green, time and again pausing at a verge or under one of the mighty beech-trees to practise a gesture or test a graceful move. Each movement, he told me, has its centre of gravity; it is enough to control this within the puppet. The limbs, which are only pendulums, they follow mechanically of their own accord, without further help.3 Walkers, joggers and Turkish women and children sitting on the grass and having their picnic catch the odd word or sentence and may wonder about this elderly gentleman in an Irish sweater. During his days in Berlin, Peter will be fully absorbed in his studies of Kleist’s On the Marionette Theatre (1810) and he will scrutinise each word (e.g. ‘rapier’or ‘vis ...
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Brierley, Gary, Ian Fuller, Gary Williams, Dan Hikuroa, and Alice Tilley. "Re-Imagining Wild Rivers in Aotearoa New Zealand." Land 11, no. 8 (2022): 1272. http://dx.doi.org/10.3390/land11081272.
Testo completoAbstract (sommario):
If wilderness is dead, do wild rivers exist and if so, in what form and in whose construction? This reflective article reviews perspectives on rivers in Aotearoa New Zealand as wild or tamed entities. A historical overview of the socio-cultural and institutional relationships with rivers examines the meanings of rivers in Aotearoa New Zealand through multiple lenses. This includes indigenous Māori knowledge, command-and-control mentalities of a settler society that assert human authority over rivers, the emergence of the environmental movement and associated legislation with a sustainability focus (the Resource Management Act), and recent movement towards co-governance arrangements that incorporate the original intent of Te Tiriti o Waitangi (1840). It is contended that management practices have disconnected society from rivers, and vice versa, creating a sense of environmental loss (solastalgia), especially for Māori. Using rivers in the Greater Wellington Region as examples, prospects to accommodate wild river behaviour in Aotearoa New Zealand are explored. Recognising that re-wilding is no longer a feasible option in most instances, further attempts to tame rivers are also considered to be unrealistic, especially in light of climate change and accentuated flood risk. Reconnecting with indigenous knowledge offers prospects to re-imagine wild rivers in Aotearoa, living generatively with rivers as dynamic and emergent entities.
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Yan, rui. "Chinese Painting from tradition to modernity." Философия и культура, no. 5 (May 2023): 49–59. http://dx.doi.org/10.7256/2454-0757.2023.5.40398.
Testo completoAbstract (sommario):
According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; and vice versa, the progress of art and culture, in turn, contributes to the progress of society. A clear and complex line has been traced in the development of Chinese painting over the centuries: from a high degree of integration to gradual differentiation leading to conflict, and then to integration. The development of Chinese painting as a whole shows a transformational trend from tradition to modernity, developing in a tortuous way. In this paper, a combination of research methods is used for research, mainly documentary research, descriptive research, comparative research and case study. Considering the features and trends of Chinese painting at different stages of development, we can more accurately judge the direction of development of modern Chinese painting and find ways to integrate tradition and modernity.
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Kasper, Carlos B., Fábio D. Mazim, José B. G. Soares, Tadeu G. de Oliveira, and Marta E. Fabián. "Composição e abundância relativa dos mamíferos de médio e grande porte no Parque Estadual do Turvo, Rio Grande do Sul, Brasil." Revista Brasileira de Zoologia 24, no. 4 (2007): 1087–100. http://dx.doi.org/10.1590/s0101-81752007000400028.
Testo completoAbstract (sommario):
Entre janeiro de 2005 e dezembro de 2006 foram realizados estudos sobre a composição e abundância relativa dos mamíferos de médio e grande porte do Parque Estadual do Turvo. Para tanto, foram utilizados registros de armadilhas fotográficas além de visualizações e dados sobre presença e ausência de pegadas ao longo de transectos pré-determinados. No total foram registradas 29 espécies de mamíferos de médio e grande porte, das quais Dasyprocta azarae Lichtenstein, 1823 e Sylvilagus brasiliensis (Linnaeus, 1758) foram as espécies com maior número de registros. No que se refere a Carnivora, Nasua nasua (Linnaeus, 1766) e Leopardus pardalis (Linnaeus, 1758) tiveram os maiores índices de registro, enquanto Leopardus tigrinus (Schreber, 1775), Leopardus wiedii (Schinz, 1782) e Galictis cuja (Molina 1782) os menores. Entre os ungulados apenas Pecari tajacu (Linnaeus, 1758) mostrou-se freqüente, sendo a quarta espécie em número de registros. Algumas espécies comuns em outros ambientes apresentaram baixos índices de registro no Parque Estadual do Turvo, tais como Dasypus novemcinctus Linnaeus, 1758 e Didelphis albiventris Lund, 1840. Finalmente, constata-se a provável extinção local de Tayassu pecari (Link, 1795), uma vez que não foram obtidos registros de sua presença ao longo do estudo. A conservação dos mamíferos de médio e grande porte do Parque está fortemente associada à preservação do "Corredor Verde de Misiones", que provavelmente representa uma área fonte para diversas espécies.
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Buława, Adam. "Gra na dwa fronty, czyli rozważania o lojalności. Tomasz Łubieński w okresie powstania listopadowego i Zygmunt Sierakowski na drodze do powstania styczniowego." Studia Historica Gedanensia 12, no. 1 (2021): 253–73. http://dx.doi.org/10.4467/23916001hg.21.035.15095.
Testo completoAbstract (sommario):
Double-dealing, or considerations of loyalty. Tomasz Łubieński during the November Uprising and Zygmunt Sierakowski on the way to the January Uprising Tomasz Łubieński (1784–1870) is a hero of the Napoleonic campaings, active politically and enonomically in the Congress Kingdom. After the November Night, he worked to stop the insurrection movement and reconcile with Russia. His military activity in 1831 raises doubts as to his full involvement. The only member of the November Uprising generalship, after an audience with Nicolas I, was released, and then he continued his opportunist career. The dominant feature of the attitude was calculation, permeating a double betrayal (of the king‑tsar, a revolted nation) and, in accordance with principle of two consciences, double loyalty to the Russian monarch and own fellow countrymen. Zygmunt Sierakowski (1827–1863), during his penal service on the Orenburg line, decides to take up te career of a tsarist officer in order to use the opportunities thus gained for the benefit of the national irredent. After graduating from the Academy of the General Staff in St. Petersburg, a specialized employee of the Ministry of War tries to be “Wallenrod of the reform of the tsarist empire” as well as “Wallenrod of the Polish independence underground”. Loyalty to the Cause resulted in a “double existence” on the verge of mental exhaustion, and his heroic sacrifice made him a martyr for his countryman, an example of treason, falsehood and hypocrisy for Russians.
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Chatzipanagioti-Sangmeister, Julia. "Αρμόδιος και Αριστογείτων". Gleaner, № 30 (3 січня 2024): 253–86. http://dx.doi.org/10.12681/er.36101.
Testo completoAbstract (sommario):
Harmodius and Aristogeiton. An Adapted Tyrannicide in the Greek Pre-revolutionary Theater The tragedy Αρμόδιος και Αριστογείτων (Harmodius and Aristogeiton) is the most radical theatrical play performed by Greek amateur actors in Odessa in the years 1814-1820, since its subject is the tyrannicide as a legitimate resistance of citizens to power, when it arbitrarily abolishes natural law. The tragedy, first staged in 1819, was until now considered to be an original work of Georgios Lassanis (1793-1870), but my article proves that in fact it is a theatrical adaptation of a part of the novel Aristides und Themistocles (1792), written by the German scholar Ignaz Aurelius Feßler (1765-1839), a member of the Illuminati Order. A comparison of the novel with the ancient sources for the two tyrannicides shows that the changes made by the enthusiastic Kantian Feßler (mainly the concealment of the homoerotic character of the relationship between the two heroes) aimed to adapt the historical material to Kant’s conception that morality is based on the autonomy of the will. Lassanis kept the changes of Feßler and added some new inventions which emphasize even more the autonomy of the will as a condition of morality. The close relationship of Lassanis’ dramaturgy with his engagement as a member of the Filiki Etaireia becomes obvious not only in the choice of the subject of death for the homeland and democracy but is also manifest in his (pen-)name «Lyssanias». Lassanis’ nom de guerre is not a phonic variant of his name (as it has commonly been assumed until now) but rather refers to the verse of Aristophanes «Λυσανίαι πατρῴων μεγάλων κακῶν»; it therefore denotes one who liberates the homeland from sorrow and pain.
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Lang, Birgit. "Normal enough? Krafft-Ebing, Freud, and homosexuality." History of the Human Sciences 34, no. 2 (2021): 90–112. http://dx.doi.org/10.1177/0952695120982815.
Testo completoAbstract (sommario):
This article analyses the slippery notions of the normal and normality in select works of Richard von Krafft-Ebing (1840–1902) and Sigmund Freud (1856–1939) and argues that homosexuality became a ‘boundary object’ between the normal and the abnormal in their works. Constructing homosexuality as ‘normal enough’ provided these two key thinkers of the fin de siècle with an opportunity to challenge societal and medical norms: Krafft-Ebing did this through mapping perversions; Freud, by challenging perceived norms about sexual development more broadly. The article submits that the scientific logic presented in Krafft-Ebing’s seminal case study compilation Psychopathia Sexualis and Freud’s early theoretical writings and cases, including Three Essays on the Theory of Sexuality (1905), was itself haunted by notions of norms and the normal that were not always easy to resolve, and sometimes involved a certain amount of inspired conjecture on the part of both thinkers in order to develop and validate their differing tripartite models of normality. Krafft-Ebing imagined homosexuality as a variation of the normal by generalizing a gay male experience. He also recorded the obstreperous cases of homosexual women based largely inside the clinic but by and large ignored this evidence. Freud inextricably bound homosexuality to normality (and vice versa) by redefining homosexuals as a group to include individuals with unconscious same-sex desire. Doing so allowed him to conceptualize the fear of homosexuality as crucial in the formation of neurosis and psychosis, and at the same time put him at odds with relevant early identity politics.