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Tucker, Herbert F. "Verse Visa". Nineteenth-Century Literature 72, n.º 4 (1 de março de 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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Farooqi, Mehr Afshan. "“My Selection of Verses Earned Me a (Bad) Reputation!”: A Reflection on Ġhālib’s Published and Unpublished Verses". Journal of Urdu Studies 2, n.º 1 (12 de julho de 2021): 68–89. http://dx.doi.org/10.1163/26659050-12340020.
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Abstract The great nineteenth-century poet Mirzā Asadullāh Ḳhān Ġhālib was a strict editor of his own work. As a result, he excised more than half of the verses when he published his Urdu dīvān in 1841. Most of these so-called rejected verses have been recovered and are available in comprehensive, scholarly editions of Ġhālib’s dīvān. In this paper I have examined the dynamics of selection by comparing and analyzing, verse by verse, Ġhālib’s process of selection. I chose Ġhālib’s published ġhazal that he constructed by cherry-picking verses from two ġhazals. My conclusion is that Ġhālib’s editing was personal. While in some cases it is possible to see the reasons behind making the choice, it seems arbitrary in others.
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Bugorskaia, V. V. "THE IMAGES OF THE ANGELS IN THE LERMONTOV’S WORKS". Bulletin of Udmurt University. Series History and Philology 30, n.º 2 (7 de maio de 2020): 296–302. http://dx.doi.org/10.35634/2412-9534-2020-30-2-296-302.
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In the article the images of the angels in the Lermontov’s works are considered. The author concentrates on 4 types of images: the Angels - God’s Grace incarnations, the Angels of Death, the Fallen Angels, the Angels of Earth. The main attention in the article is paid to the analysis of the images of Angels in the verse "Angel" (1831), poems "Asrail" and "Angel of Death" (1831), "Demon" (1829-1839), unfinished novel "Vadim" (1832-1834) and unfinished povest’ "Shtoss" (1841). The author relies on the works on the scholars in the Lermontov’s studies field, applies germenevtic and historical and literary methods which allow to conduct a meticulous research.
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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, n.º 1 (19 de março de 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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GEARY, JASON. "Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language". Journal of Musicology 23, n.º 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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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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Kornilyeva, Liliya. "Дискурси влади у творчості юліуша словацького". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, n.º 4 (3 de abril de 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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Gallagher, Mary. "Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal". Irish Journal of French Studies 21, n.º 1 (1 de outubro de 2021): 10–34. http://dx.doi.org/10.7173/164913321833983033.
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Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.
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Volkov, Ivan O. "‘My Idol, My Teacher, My Unattainable Model!’: Ivan Turgenev as a Reader of Alexander Pushkin". Вестник Пермского университета. Российская и зарубежная филология 15, n.º 2 (2023): 81–91. http://dx.doi.org/10.17072/2073-6681-2023-2-81-91.
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The article provides a holistic analysis of the reader’s perception by Ivan Turgenev ofAlexander Pushkin’s lyrical works. It focuses on the materials of the writer’s personal library (Ivan Turgenev State Literary Museum in the city of Oryol), namely the book (volume) 3 from the first posthumous collec-tion of the poet’s works (1838–1841) with numerous marks left by Turgenev. This paper is the first to recon-struct the picture of the writer’s thoughtful and responsive attitude to Alexander Pushkin as a poet, which is done through a comprehensive study of all the traces of reading left on the pages of the book by Ivan Turge-nev (underlining, notes). The nature of the marks indicates the writer’s concentrated attention both to the form of Alexander Pushkin’s verse and to the content. The writer’s reading reflection combines poetic texts into mainly three closely related thematic areas: moral and philosophical, love, and biographical. Ivan Tur-genev takes a special interest in Alexander Pushkin’s widely represented pairing of the images of life and death, he significantly deepens the dramatic notes in the author’s reflections on man and his position in the world. The philosophical meanings of Alexander Pushkin’s lyrics, which receive psychological voicing in the course of reading, also become for the writer a necessary tuning fork for the tragic sounding of the theme of love. Approaching the comprehension of the phenomenon of life creation in Alexander Pushkin’s works,Ivan Turgenev, on the one hand, places certain biographical accents in the poems, and, on the other hand, approaches the solution of the problem of the meaning and freedom of poetic creativity. For Ivan Turgenev, the sonnet To the Poetbecame the credo of a talented person in the matter of creativity.
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Amayo Zevallos, Enrique. "Amazonía y el Pacífico en "La Jangada" de Julio Veme: Una visión eurocéntrica". Amazonía Peruana, n.º 27 (14 de dezembro de 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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Pereira, Eduardo Adilson Camilo. "Cabo Verde: Elites Coloniais e Lutas Partidárias na Primeira Metade do Séc. XIX (1821-1841)". Sankofa (São Paulo) 6, n.º 10 (6 de janeiro de 2013): 129. http://dx.doi.org/10.11606/issn.1983-6023.sank.2013.88897.
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Este trabalho tem como principal objetivo fazer uma reflexão sobre as disputas político-partidárias em Cabo Verde, entre os anos de 1821 e 1842, opondo dois partidos: liberais moderados e liberais exaltados. Para tal, propõe demonstrar como as elites políticas locais se apropriaram das festas religiosas para mobilizar os rendeiros do interior da ilha de Santiago em torno do partido pró-Brasil. Por outro lado, o projeto separatista em relação a Portugal e a constituição de um novo centro civilizacional em Mindelo – ilha de São Vicente são compreendidos como decorrentes das disputas partidárias. Além disso, propõe compreender as mobilizações políticas tanto em decorrência das reivindicações das elites políticas das ilhas de Santo Antão, São Vicente e São Nicolau para a eleição de um represente junto ao governo geral quanto pela divulgação das listas de eleitores.
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ÖGER, ADEM. "UYGURLARDA GELENEKSEL MESLEKLERİ KONU ALAN ÇAĞATAYCA BİR ESER: KİTÂB-I GARÎBÎ". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (3 de dezembro de 2022): 453–69. http://dx.doi.org/10.34189/hbv.104.025.
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Uyghurs, who had a rich cultural background in fields such as architecture, painting, miniature, music and traditional professions, had a great influence on the development and spread of Turkish culture. This rich cultural heritage, shaped in oral tradition, has started to spread in written form in Chagatai Turkish since the 15th century. While the author or copyist of some of these written works, which are about cultural heritage and fed from oral tradition, are unknown, the date and author of some of them are known. Especially in the 19th and 20th centuries, most of the poets, who lived in East Turkestan and wrote classical works, wrote works in the genre of mesnevi and tezkire, which deal with the historical and cultural heritage of the Uyghurs. One of the names who produced works in this style is Turdi Nâzım Garîbî. The work of Garîbî, which was written in 1841 and is about traditional professions, was written in Chagatai Turkish and in mesnevi verse and is called Kitāb-ı Garîbî. The work consists of an introduction, 32 chapters and 978 couplets. Written upon the request of Zuhûriddin Beg, the ruler of Kashgar at the time, the work includes information about such widely practiced traditional professions among the Uyghurs as farming, blacksmithing, adobe crafting, jewelry, carpentry, cloth weaving, trader, bakery, boiler making, miskerçilik, furriery, taming (building craftsmanship), rug making, shoemaking, fabric dyeing, dyeing, blacksmithing and weaving, and information about their characteristics. In some parts of the work, there are debates of the professionals. The work, which includes information about 32 professions in total, is important in terms of revealing the place of traditional professions in the socio-cultural and economic life of the Uyghurs. In the article, the formation and development process of traditional professions among the Uyghurs, the works on the professions, the professions that have survived until today and the traditional professions included in Kitāb-ı Garîbî will be introduced and evaluated. Keywords: Uyghurs, Traditional Profession, Chagatai Turkish, Mesnevi, Futuwwatnāme.
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Mora Triay, María Fernanda. "Del verso a la prosa: dos traducciones de Lord Byron en el siglo XIX mexicano (1841-1845)". Bibliographica 7, n.º 1 (7 de março de 2024): 17. http://dx.doi.org/10.22201/iib.2594178xe.2024.1.475.
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En México, a principios del siglo XIX, se llevó a cabo una importante actividad de traducción de textos pertenecientes al canon de la literatura mundial occidental. En numerosas ocasiones dicha actividad se realizó sin el conocimiento de la lengua original, a través de traducciones españolas o francesas. No obstante, la readaptación al castellano de estos mismos textos, por parte de los mexicanos, supuso la percepción de que algunas de las traducciones importadas desde Europa no atendían adecuadamente las dimensiones estética, semántica o cultural de las obras originales, ni al contexto local. De tal suerte, la re-traducción abría la puerta a la concepción de estos ejercicios como una práctica de empoderamiento político y social. Este artículo explora dos traducciones anónimas de versos de Lord Byron, el poeta romántico inglés mejor conocido en la época, para discutir la relación entre traducción, literatura nacional y prensa periódica en la primera parte del siglo XIX mexicano.
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Johnson, Markes E., e B. Gudveig Baarli. "Charles Darwin in the Cape Verde and Galápagos archipelagos: The role of serendipity in development of theories on the ups and downs of oceanic islands". Earth Sciences History 34, n.º 2 (1 de janeiro de 2015): 220–42. http://dx.doi.org/10.17704/1944-6187-34.2.220.
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The 1831–1836 voyage of H.M.S. Beagle under Captain Robert FitzRoy launched Charles Darwin's entry into the world of geology with two pioneering publications on oceanic islands to his credit. Best known is Darwin's 1842 contribution on the theory of atoll development from the subsidence of volcanic islands and coeval upward growth of coral reefs. This work can be linked, in part, to the ten days during which the Beagle visited the Keeling (Cocos) Islands. The subsequent and lesser known of Darwin's parallel contributions is his 1844 summary on all the volcanic islands visited during the expedition, including Santiago (Cape Verde Islands), Terceira (Azores), St. Paul's Rocks, Fernando Noronha, Ascension, St. Helena, the Galápagos Islands, Tahiti, and Mauritius. Ostensibly, the centerpiece of the 1844 volume is Darwin's extensive coverage of Ascension based on the five days spent there in 1836. However, Darwin had many more days at his disposal in the Galápagos and ‘St. Jago’ (Santiago), where the Beagle stopped in the Cape Verde Islands at the outset and again near the end of the voyage. The volcanic islands where Darwin spent the most time were in the Galápagos (thirty-five days) and the Cape Verdes (twenty-nine days). In particular, those island groups make an interesting comparison with respect to the development of Darwin's ideas on tectonic uplift based on basalt flows with inter-bedded limestone formations. Chance played a huge role in what Darwin saw and did not see during his island travels. The initial visit to the Cape Verde islands was instrumental in shaping Darwin's earliest vision of a book on volcanic islands, but his time there was entirely fortuitous due to a forced change in FitzRoy's plan for a stay in the Canary Islands. Although Darwin was on the look out for limestone formations in the Galápagos islands comparable to those on Santiago in the Cape Verdes, he missed finding them due only to the vagaries of FitzRoy's charting schedule in the Galápagos. This overview looks at limestone distribution in the Cape Verde and Galápagos archipelagos as now understood and speculates on how a wider knowledge of both regions may have influenced Darwin's thinking on global patterns of island uplift and subsidence.
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S. Laczkó, András. "A reklám helye". Verso – Irodalomtörténeti folyóirat 5, n.º 1 (20 de julho de 2022): 49–69. http://dx.doi.org/10.15170/verso.5.2022.1.49-69.
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Garay János 1845 tavaszán megjelent Iparvédegyleti dala nem tartozik a magyar költészet történetének fontos darabjai közé. Az 1844 végén a hazai ipar támogatására létrehozott Védegylet propagálásának céljával született költemény még a kortársak figyelmét sem keltette fel, hiszen nem látszott többnek, mint költészeti újrafogalmazásának a korabeli közönség által jól ismert, az országos mozgalom mellett agitáló politikai beszédekben, hírlapi vitairatokban és szépirodalmi művekben is számtalanszor elismételt érveknek, retorikai frázisoknak. Mindennek ellenére az Iparvédegyleti dal a hazáról és nemzetről való „hagyományos” költői beszéd megújítására tett kísérletként is szemlélhető. A dolgozat legfontosabb állítása, hogy Garay az általa propagált mozgalom deklarált céljával összhangban, ám a kor hazafias költészetében szokatlan módon, a kereskedelmi reklámok eszközeit felhasználva igyekezett meggyőzni közönségét a honi ipar termékeinek vásárlásáról. Versében jóval inkább a fogyasztói önérdekre, semmint a hazafiúi/ honleányi kötelességtudatra apellálva, a hazát az érzéki vágyak, az egyéni élvezet tárgyaként mutatta be. Az Iparvédegyleti dal ugyan esztétikai értékét tekintve távolról sem nevezhető jól sikerült műnek, irodalomtörténeti szempontból azonban mégsem egészen érdektelen; szemléletes példája annak a kihívásnak, amellyel a haza, nemzet és hazafiság fogalmainak egykorú átértelmezése szembesítette, és tradicionális szótárának átalakítására, retorikai arzenáljának kibővítésére késztette a képviseleti lírát.
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Silliman, Robert. "The Richmond Boulder Trains: Verae Causae in 19th-Century American Geology". Earth Sciences History 10, n.º 1 (1 de janeiro de 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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Lappo-Danilevskii, Konstantin. "Andrei Aleksandrovich Teils, a Writer Who Nonetheless Existed". Slovene 11, n.º 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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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, n.º 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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Orlitskii, Yurii B. "VERS LIBRE FROM “ANTIGONE”. AN EPISODE FROM THE HISTORY OF RUSSIAN FREE VERSE. APOLLON GRIGORIEV - TRANSLATOR OF THE TRAGEDY OF AESCHYLUS". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 10 (2020): 187–206. http://dx.doi.org/10.28995/2686-7249-2020-10-187-206.
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The article considers an episode from the history of Russian free verse associated with the use of that type of national versification by Apollon Grigoriev in his early translation of Sophocles’ tragedy “Antigone” (1846). Vers libre appeared in the work of the young poet to create an equivalent to the socalled “lyrical meters”, that were used in the original to write the choir parts and two key monologues of the classical drama. The real rhythmic nature of those parties, consisting mainly of lines of different syllabic-tonic meters, is determined; however, a small number of verses in above fragments of the text do not lend themselves to traditional metrical interpretation and should be attributed to the transitional form of early Russian free verse – free verse on a syllabo-metrical basis. The place of the bold metrical experiment of the novice author among other ways of translating ancient choirs is shown in comparison with the predecessors (I. Martynov and A. Merzlyakov) and followers (S. Shestakov, V. Vodovozov, F. Zelinsky). It is also shown that later the vers libre used by Grigoriev to convey the specific musical meters of Sophocles were replaced by a more adequate verse form – syllabo- metrical logaedas proposed in 1914 by Zelinsky.
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Trejo Pinedo, Virginia, e 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, n.º 12 (1 de janeiro de 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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Szymaniak, Włodzimierz J. "JOÃO LOPES FILHO, Cartas de um Sempalhudo 1844–1845, Praia, Universidade de Cabo Verde, 2017, 159 pp." Estudios Hispánicos 27 (29 de janeiro de 2020): 261–65. http://dx.doi.org/10.19195/2084-2546.27.25.
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Oláh, Róbert. "Petőfi Sándor Nagykőrösön őrzött autográf verseinek kritikai összehasonlítása és annak legújabb eredményei I. – A korai évek hagyatéka (1843–1844)". Tudásmenedzsment 24, n.º 1 (14 de agosto de 2023): 87–117. http://dx.doi.org/10.15170/tm.2023.24.1.6.
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2023-ban ünnepeljük a magyar irodalom lánglelkű költőjének, Petőfi Sándor (1823–1849) születésének 200. évfordulóját, amely során az esztendőt emlékévnek nyilvánították a 2017-es Arany bicentenáriumhoz hasonlóan. Ezen tanulmányomban Petőfiről és azon kevésbé nyolc autográf verseiről emlékezem meg, amelyeket az Arany János Közérdekű Muzeális Gyűjteményben őriznek. A poétának tulajdonított dokumentumok közül a korai évekre (1843–1844) koncentrálva öt művet szöveghűen hasonlítottam össze az első nyomtatott kiadással, valamint a kritikai átnézetekkel. Célom volt az írásképek összehasonlítása mellett megállapítani, hogy a szóban forgó autográf iratok közül melyek azok, amelyek valóban Petőfi kézírásainak tekinthetők, és melyek zárhatók ebből ki. A források eredeti közlésével eddig nem kutatott módon szeretném ezen versek hitelességét megerősíteni vagy cáfolni. Hiszem, hogy tanulmányommal közelebb kerülhetünk azon örökséghez, amelyet a fiatal költő hagyott ránk és amely a magyar nyelv és irodalom egyik legértékesebb lenyomatai a XXI. században is. A kritikai összehasonlítással válhat teljesebbé Petőfi életművének megismerése, amely munka a további, a nem Nagykőrösön őrzött művek esetében is jól követhető, így feltáró, összehasonlító, elemző és kritikai eredményt felmutató munkák alapja lehet. Az itt közölt adatokkal tovább pontosíthatjuk egy esetleges újabb, átfogóbb kritikai kiadás vonatkozó részeit, illetve azon muzeológiai adattárakat, amelyek a Petőfi-versek kutatásának alapját képezik.
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Faleiro, Rita. "Património musical de Évora no início de Oitocentos: um Miserere de Francisco Ignácio Moreira e possíveis contextos interpretativos". Herança 2, n.º 2 (30 de janeiro de 2020): 49–68. http://dx.doi.org/10.29073/heranca.v2i2.159.
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No Arquivo Musical da Sé de Évora, existe um nome que se assume como um dos principais reformuladores de obras musicais aí presentes: fala-se de Francisco Ignácio Moreira, entre outros mestre de capela, mestre de solfa e de instrumentos. Neste arquivo, surge-nos pelas suas mãos, um Miserere composto no ano de 1805, e constantemente reformulado: em 1811 é-lhe acrescentado um clarinete e em 1814 um tercetto sobre o 16º verso.
A presença de datas nestes manuscritos pode tornar-se indicadora de momentos chave na vida da cidade. De facto, 1814 é um ano particularmente activo na cidade no que diz respeito a performances musicais, pelo que o exercício de enquadrar esta obra em possíveis espaços interpretativos se torna relevante para uma melhor compreensão da relação entre património material, imaterial e agentes envolvidos.
Pretende-se assim inserir esta obra no seu contexto geral, articulando-a com espaços e eventos decorridos em Évora ao longo dos nove anos em que esta peça foi sendo modificada.
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BONATO, LUCIO, FABIO G. CUPUL-MAGAÑA e ALESSANDRO MINELLI. "Mecistocephalus guildingii Newport, 1843, a tropical centipede with amphi-Atlantic distribution (Chilopoda: Geophilomorpha)". Zootaxa 2271, n.º 1 (22 de outubro de 2009): 27–42. http://dx.doi.org/10.11646/zootaxa.2271.1.2.
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Mecistocephalus guildingii Newport, 1843 (Chilopoda: Geophilomorpha: Mecistocephalidae) is redescribed, and its geographical distribution revised and updated, after examination of 28 specimens from different localities together with critical assessment of published accounts and records. Mecistocephalus guildingii Newport, 1843 (= Mecistocephalus punctilabratus Newport, 1845, n. syn.; = Lamnonyx leonensis Cook, 1896, n. syn.; = Mecistocephalus maxillaris guadeloupensis Demange and Pereira, 1985, n. syn.) is distinguished from other Mecistocephalus species, with which it has been often confused, mainly in head elongation and some features of the clypeus. M. guildingii has been reported hitherto from less than two dozen sites on the eastern side of tropical Americas, however it is actually established in islands and coastal sites on both sides of the tropical part of the Atlantic ocean: on the American side from Bermuda through the Antilles to southern Brazil; on the African side in the Cape Verde archipelago and from Gambia to Liberia. It is also established in a locality on the Pacific coast of Mexico, and has been found occasionally inland in Brazil and in European hothouses and other disturbed anthropic sites.
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Wolffe, John. "The Evangelical Alliance in the 1840s: An Attempt to Institutionalise Christian Unity". Studies in Church History 23 (1986): 333–46. http://dx.doi.org/10.1017/s0424208400010688.
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in 1844 Baptist Wriothesley Noel, minister of the Anglican proprietary chapel of St. John’s Bedford Row since 1827, published a book of verse, with a piece on ‘Schism’ containing the following stanzas: For man-made discipline let bigots fightCanons and rules old fathers have approved;By us may those whose faith and life are right,Be owned as brothers and as brothers loved.All true believers are the ransomed church,Children of God by Jesus owned and loved;And in the day when God the heart shall searchWill they who part them be schismatics proved.In the 1820s Noel had been an enthusiastic sympathiser with the pan-evangelicalism then prevalent in London and had remained loyal to these views during the period of stormier relations between Church and Dissent in the 1830s. In the slightly calmer waters of the 1840s Noel’s sentiments again came to represent the views of a small number of Anglican Evangelicals and a rather larger proportion of moderate Dissenters whose efforts to promote Christian unity were to culminate in the formation of the Evangelical Alliance in 1846.
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Borisova, I. M. "TYPOLOGY OF THE GRAPHIC COMPOSITION OF THE VERSE". Vestnik Orenburgskogo gosudarstvennogo universiteta 211, n.º 11 (2017): 40–46. http://dx.doi.org/10.25198/1814-6457-211-40.
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O'Neill, Michael. "'A magic voice and verse': Byron's Approaches to the Ode, 1814–16". Byron Journal 34, n.º 2 (dezembro de 2006): 101–14. http://dx.doi.org/10.3828/bj.34.2.2.
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Anđelković, Maja. "NEPOZNATI STUDENIČKI PREPIS „PROLOŠKOG ŽITIJA SVETOG SIMEONA“". Nasledje, Kragujevac XVIII, n.º 50 (2021): 181–90. http://dx.doi.org/10.46793/naskg2150.181a.
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The paper analyzes the Prologue Life of Saint Simeon, based on the hitherto unknown Stu- denica Transcript R7, written in 1831. The manuscript book in which the transcript is located has not been catalogued so far, so scientific analyses of its content are scarce – from the Beadroll of the Living and Deceased Studenica Monks, through the Troparion of Feasts and the Troparion of Saints, to the Life of the Holy Father Simeon - the prologue of Simeon’s hagiography, represent- ing the final section of the book. The records of two scribes provide precise data on the time of the book’s creation, and based on them it can be pointed out that the first part was written on December 4th, 1829, and the second (within which The Life was written) - on November 18th, 1831. Furthermore, the paper determines the place of the Studenica Transcript in the manu- script tradition. According to the peculiarities of The Life, it was determined that this tran- script belonged to the so-called younger verse edition of the Synaxarion that has no verses. It is characterized by concise narration and presentation of the main details from the life of Saint Simeon, with special emphasis on his ktetor activities (the construction of the Studenica and Hilandar monasteries), spiritual ascension, myrrh pouring streaming and healing of the sick at Simeon’s grave in Studenica. At the end of the paper, we publish a compiled edition and translation of this Simeon’s prologue hagiography, recorded in the manuscript under the title Life of the Holy Father Simeon, prologue Life (Житије Светог Оца Симеона, пролошко житије; Манастир Студеница, бр. Р7, л. 109а–109б; 18. 11. 1831).
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Lacaille, Frédéric. "Les salles des Amiraux, des Connétables, des Maréchaux et des Guerriers célèbres des Galeries historiques de Versailles, 1833-1848". Versalia. Revue de la Société des Amis de Versailles 18, n.º 1 (2015): 129–46. http://dx.doi.org/10.3406/versa.2015.950.
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Hoagwood, Terence Allan. "Reading Adaptations: Novels and Verse Narratives on the Stage, 1790-1840. Philip Cox." Wordsworth Circle 31, n.º 4 (setembro de 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, n.º 2 (julho de 2001): 233–34. http://dx.doi.org/10.3366/rom.2001.7.2.233.
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Pereira, Eduardo Adilson Camilo. "Cabo Verde: entre uma civilização agrícola e uma civilização industrial e comercial (1822-1841)". Sankofa (São Paulo) 7, n.º 14 (8 de dezembro de 2014): 118. http://dx.doi.org/10.11606/issn.1983-6023.sank.2014.97203.
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O presente artigo pretende analisar os diversos discursos políticos produzidos e reproduzidos pelas elites políticas em Cabo Verde, em torno de qual ilha deveria sediar a capital do arquipélago. Pretende ainda demostrar a atualidade desse discurso na mobilização política das ilhas de Santo Antão, São Vicente e São Nicolau contra a centralidade político-administrativa da vila da Praia, assente na criação de uma civilização industrial e comercial em Mindelo, em torno da navegação. Propõe ainda analisar e compreender os argumentos político-económicos apresentados para justificar a transferência do governo, como especial atenção para a centralidade geográfica, comércio externo e existência de bom porto para a navegação.
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Santos, Natália Gonçalves de Souza. "Metarromantismo em verso e prosa nos Ensaios Literários (1847-1850)". Travessias Interativas, n.º 29 (22 de maio de 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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V. Horváth, Károly. "Adalékok a Mombelli grófok genealógiájához". Verso – Irodalomtörténeti folyóirat 6, n.º 2 (10 de dezembro de 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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Ganter, Granville. "Lyrical Liberators: The American Antislavery Movement in Verse, 1831-1865 ed. by Monica Pelaez". African American Review 53, n.º 1 (2020): 73–75. http://dx.doi.org/10.1353/afa.2020.0004.
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Pereira, Eduardo Adilson Camilo. "Fontes de pesquisa em Cabo Verde: o caso da Revolta dos Rendeiros no interior de Santiago (1822-1841)". Sankofa (São Paulo) 9, n.º 16 (27 de janeiro de 2016): 63. http://dx.doi.org/10.11606/issn.1983-6023.sank.2016.110355.
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Este artigo pretende analisar e compreender tanto a relação de poder quanto osinstrumentos legais de reivindicação contra as injustiças sociais no interior da ilha de Santiago, entre 1822 e 1841. Para tal, pretende analisar os requerimentos e os ofícios recebidos e dirigidos pelo governo geral de Cabo Verde, colectados no Arquivo Histórico Nacional de Cabo Verde, na cidade da Praia, no Arquivo Histórico Ultramarino e no Arquivo Histórico Militar, ambos emLisboa.Por outro lado, propõe analisar em que medida esses instrumentos administrativos refletiam a estrutura de poder vigente tanto no regime do governo geral quanto durante a vigência da prefeitura. Além disso, pretende compreender de que forma essas fontes permitem analisar os problemas sociais vigentes.
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Dan, Wang. "A NOVEL IN VERSE "EUGENE ONEGIN" BY A. S. PUSHKIN: THE WAY TO THE OPERA STAGE". Arts education and science 1, n.º 30 (2022): 142–48. http://dx.doi.org/10.36871/hon.202201016.
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The article traces the theatrical life of A. S. Pushkin's dramatic and poetic works. It is known that the poet did not prevent theatrical productions of his works, as evidenced by a lifetime staging of the poem "Gypsies", the permission for which he himself gave. It is noted that Pushkin did not want to become an opera librettist, realizing that in this case he would be assigned a secondary role. An exception is his unfinished drama "The Mermaid", the text of which, according to researchers, is nothing more than a full-fledged libretto written for an unknown composer. The work emphasizes that Pushkin's poems and stories attracted special attention of theater directors. Some of the poet's works were staged in the genres of ballet, drama and even melodrama during his lifetime. A novel in verse "Eugene Onegin" was adapted for the stage as a dramatic performance by Prince G. V. Kugushev in 1846. Kugushev's play was written in the Onegin stanza and many verses from Pushkin's novel were preserved. Based on a number of studies, the paper suggests that Kugushev's play could have been the starting point for the libretto of the opera "Eugene Onegin", since the dramatic scheme of the opera by P. I. Tchaikovsky largely coincides with the plan of his play.
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Rodrigues, Manoela Da Silva, e Esteban Reyes Celedón. "O DUPLO EM CORTÁZAR: O CASO DO CONTO “DESPUÉS DEL ALMUERZO”". Revista Decifrar 6, n.º 12 (6 de dezembro de 2018): 33. http://dx.doi.org/10.29281/rd.v6i12.4925.
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Em 1846, antes do surgimento da psicanálise, o jovem romancista russo Fiódor Dostoiévski (1821-1881), escreveu uma pequena novela, O Duplo (Двойник. Петербургская поэма, 1846), que abordava o conflito da personalidade de Goliadkin, funcionário público, que tenta se destacar dos demais, desempenhando com perfeições suas tarefas, mas é derrotado por ele mesmo, ou melhor, pelo seu duplo. Neste sentido, em 1964, o escritor argentino Julio Cortázar (1914-1984), no conto Después del Almuerzo, aborda a mesma temática, mas narrado por um jovem pré-adolescente. Numa primeira leitura, não sabemos ao certo de quem ou de que se trata; o que leva o leitor a imaginar que possa ser: um cachorro, um irmão com debilidades ou, até mesmo, um espírito. Neste conto se colocam noções de responsabilidade e culpa existentes da pré-adolescecia, que tenta contrapor essa fase, sua vontade de se livrar deste ser a quem tem que acompanhar em seu passeio por ruas de Buenos Aires. Esta fase narrada coloca o duelo entre o jovem e este ser que tem suas vontades próprias de livramento em forma de culpa, querendo ser natural e humano, hora criança e hora querendo se tornar adulto, deixa claro que o duplo existe a todo instante, dentro e fora de si. O corpo exterior deste pré-adolescente pode aparentar maturidade, porém o ser interior reluta com a consciência da infância; este ser não acompanha o exterior e vise versa. Neste trabalho analisaremos este duelo interior do protagonista, do ponto de vista da estética literária (herdeira da obra de Dostoiévski).
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Gillespie, Stuart. "Some English Horatians of the 1790s". Translation and Literature 33, n.º 2 (julho de 2024): 229–37. http://dx.doi.org/10.3366/tal.2024.0589.
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Here are printed for the first time four Horatian verse translations or imitations by William Parsons ( fl. 1785–1824) with a further item by William Boscawen (1752–1811), from the two Bodleian manuscripts in which they are apparently uniquely extant. The Horatian poems involved are Odes 1.1, 1.22, and 1.30; Epist. 1.4. The appeal of these sophisticated and playful compositions lies partly in their off-the-record character, with frequent satirical flavouring.
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Anokhina, Yuliya Yu. "Spatial Images in Baratynsky’s Late Lyrics: Aesthetic and Metaphysical Aspects". Transcultural Studies 15, n.º 2 (21 de outubro de 2019): 91–101. http://dx.doi.org/10.1163/23751606-01502001.
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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.
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Hawley-Colón, Carlos. "The Archpriest, Trotaconventos, Don Melón and Doña Endrina: Lost Verses and Misdirected Sources". Enarratio: Publications of the Medieval Association of the Midwest 21 (2019): 90–101. http://dx.doi.org/10.18061/1811/86996.
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Crawford, Alistair. "Robert Macpherson 1814–72, the foremost photographer of Rome". Papers of the British School at Rome 67 (novembro de 1999): 353–403. http://dx.doi.org/10.1017/s006824620000461x.
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ROBERT MACPHERSON 1814–1872, IL ‘PRIMO’ FOTOGRAFO A ROMAMentre la Roma di Pio IX decadeva verso un periodo di rivoluzioni e povertà, e gli artisti abbandonavano il neoclassicismo per dirigersi verso la nuova capitale dell'arte, Parigi, Robert Macpherson, dall'1851 in poi, riuscì a riprodurre con successo le immagini del passato di Roma e della campagna romana, utilizzando le innovazioni tecnologiche della fotografia e producendo un ultimo vivace resoconto dell'età cosiddetta del ‘Grand Tour’. Considerate le limitazioni della fotografïa nel riprodurre l'ideale piuttosto che il reale, non si trattò di una conquista da poco. Nel descrivere gli inizi della fotografia commerciale in Italia, basata nei quartieri degli artisti della Roma del diciannovesimo secolo, questo articolo traccia la biografia di Macpherson, da Edimburgo al Caffè Greco, compreso i sui numerosi contatti sociali ed occupazioni: come artista, inventore, mercante d'arte, e, per la prima volta, fornisce informazioni su chi effettivamente egli fosse. Il suo uso particolare dei soggetti e delle tecniche fotografïche, che spiega come egli fosse in grado di creare tali cupe e melanconiche immagini romantiche, viene esaminato, sia in relazione a suo iniziale successo internazionale quale fondatore del soggetto della fotografia architettonica che al suo successivo fallimento e povertà.
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Ujváry, László, Krisztina Knézy, Erika Maka, Márton Magyar e Zoltán Zsolt Nagy. "Kétszáz éve született Petőfi Sándor, a költő, aki a Napba nézett : A solaris retinopathia egy esetének bemutatása". Szemészet 160, n.º 4 (2023): 203–6. http://dx.doi.org/10.55342/szemhungarica.2023.160.4.203.
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Kétszáz éve, 1823-ban született Petőfi Sándor. Életének tizenkilencedik évében, 1842-ben teljes napfogyatkozást lehetett megfigyelni Magyarország területéről, amelyet a költő szabad szemmel nézett végig, maradandó látáskárosodást szenvedve. Rendhagyó kazuisztikánk célja a korabeli feljegyzések és Petőfi versei által dokumentált eset bemutatása, és a solaris retinopathia ismertetése.
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Evans, Raymond. "On the Utmost Verge: Race and Ethnic Relations at Moreton Bay, 1799–1842". Queensland Review 15, n.º 1 (janeiro de 2008): 1–31. http://dx.doi.org/10.1017/s1321816600004542.
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The native races know us chiefly by our crimes.— Karl Marx‘Moreton Bay’ was certainly a name to be conjured with among the early Australian penal stations. As well as being a forbidding secondary detention centre, it represented — both within and around itself — a microcosmic world of early colonial race and ethnic relations. For this custodial system was rudely imposed upon pre-existing and long-enduring social orders of a dramatically dissimilar kind. It intruded into human populations that greatly outnumbered its own, implanted itself and militarily usurped portions of territory in a variety of locations, occupied by and spiritually amalgamated with a substantial body of Aboriginal communities. To these people, for whom life was ‘a billowing of the consciousness of country’, it was a visitation utterly without precedent. The repercussions of its ongoing presence were largely uninvited and unrehearsed. The station's existence was at first a wonder and a puzzle, then an impediment and a curse. It greatly transformed immutable lifeways, invariably impoverishing them; it reduced social options rather than expanding them; it denuded the host culture of its efficacy; and it assailed the people's health and decimated their numbers. The familiar environment was reconstructed and the old place-names largely obliterated and changed. For the incomer, to name was to own. The many visible signs of Aboriginal material occupancy were ignored as palpable evidence of legal possession and, eventually, erased. Erased too was much of the evidence of these very acts of erasure, whether material, cultural or human. Detailed evidence of what happened — or was perceived to have happened — in the myriad interactions between Aborigines and non-Aborigines of the convict settlement between 1824 and 1842 is scanty and fragmented: staccato bursts of often-tantalising information against an otherwise frustrating backdrop of silence. Distance from Sydney as well as London was the essential buffer that nurtured this atmosphere of secrecy, feeding its potency and allowing the Moreton Bay regime to proceed virtually as a law unto itself insofar as northern frontier relations were concerned.
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Owen, Buzz, Peter Ryall e Aaron Pan. "Iconography and Distribution of the Cape Verde Island Abalone, Haliotis tuberculata fernandesi Owen & Afonso, 2012, with Comparisons to H. tuberculata coccinea Reeve, 1846, of the Canary Islands". Festivus 47, n.º 4 (1 de novembro de 2015): 243–49. http://dx.doi.org/10.54173/f474243.
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Specimens of Haliotis tuberculata fernandesi collected from Santa Luzía Island, Cape Verde Islands, are illustrated to provide additional representatives of this subspecies. Comparisons are made with Haliotis tuberculata coccinea Reeve, 1846, of the Canary Islands. Differences in shell morphology between the two subspecies are discussed in greater detail.
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O'Keeffe, Katherine O'Brien. "The geographic list of Solomon and Saturn II". Anglo-Saxon England 20 (dezembro de 1991): 123–41. http://dx.doi.org/10.1017/s0263675100001782.
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Solomon and Saturn II, the second verse dialogue between Solomon and Saturn in Cambridge, Corpus Christi College 422, has long enjoyed a rather dubious reputation as an exotic work. In part, the poem suffers a guilt by association with the two other Solomonic dialogues in the manuscript, both of which are fanciful treatments of the powers of the Pater Noster. Kemble's 1848 edition of Solomon and Saturn II formed part of an ambitious survey of the sources and analogues of the later, Latin Solomon and Marculf dialogues. Although the subject matter of Solomon and Saturn II ranges widely from bizarre monsters to proverbial wisdom, Menner's 1941 edition influenced the modern reception of the work by presenting the poem in a predominantly ‘oriental’ context. Menner's learned introduction to both the Solomon and Saturn verse dialogues focused on the mass of exotic legends associated with Solomon. In his opinion, both Solomon and Saturn poems were ‘dependent on lost Solomonic Christian dialogues in Latin’.
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Phelan, Joseph. "“Bloomluxuriance”". Nineteenth-Century Literature 75, n.º 1 (junho de 2020): 1–23. http://dx.doi.org/10.1525/ncl.2020.75.1.1.
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Joseph Phelan, “‘Bloomluxuriance’: Compound Words in the Poetry of the 1830s and 1840s” (pp. 1–23) The brief interregnum between Romanticism and Victorianism saw the emergence of and retreat from a number of formal and linguistic experiments in poetry. One of the most striking of these is the ostentatious employment of compound words; the early verse of Alfred Tennyson and some of his less-illustrious contemporaries is littered with coinages such as “tendriltwine,” “mellowmature,” and “bloomluxuriance.” The impetus behind this phenomenon came from developments in philology that emphasized the affinities between English and German and from the attempt to broaden the range of English verse by naturalizing metrical forms such as the hexameter, and was often associated with an impassioned if politically unfocused radicalism. In revising “Œnone” for republication in his 1842 Poems, Tennyson excised almost all of these compound words, a gesture of linguistic conformity that is the stylistic counterpart to what Isobel Armstrong calls the “loss of nerve” apparent in his work during this decade, and one that is paralleled in the work of some of his contemporaries. This experimental impulse did not disappear from Victorian poetry completely, however, and its survival helps to explain some of the quainter and more ungainly phenomena of later nineteenth-century verse.
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Philliou, Christine. "Communities on the Verge: Unraveling the Phanariot Ascendancy in Ottoman Governance". Comparative Studies in Society and History 51, n.º 1 (16 de dezembro de 2008): 151–81. http://dx.doi.org/10.1017/s0010417509000073.
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Phanariots were an Ottoman Christian elite which, despite structural impediments, imperial ideology, and religious doctrine that would preclude their participation in Ottoman governance, ascended to power in multiple political arenas between the 1660s and 1821. Their rise came about just as the larger imperium was undergoing profound military and political crises precipitated by both internal threats and periodic invasions by the Russian and Habsburg Empires. While some Phanariots were stalwart servants of the sultan, others exacerbated these crises, allying with Russian officials and planning a secessionist uprising that would later unfold into the Greek War of Independence. Their ascendancy, however, is an Ottoman story—a specific outcome of Ottoman responses to the dilemmas of empire in the eighteenth and early nineteenth centuries.
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Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, n.º 1 (1 de janeiro de 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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Mazel, Adam. "“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI". Victorian Literature and Culture 44, n.º 3 (30 de agosto de 2016): 511–33. http://dx.doi.org/10.1017/s1060150316000073.
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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.