‚David Armenius philosophus‘

2018 ◽  
Vol 21 ◽  
pp. 49-84
Author(s):  
Udo Reinhold Jeck
Keyword(s):  
Western Europe ◽  
Research Literature ◽  
Historical Research ◽  
Philosophical Tradition ◽  
Late Antique ◽  
Western Tradition ◽  
Critical Exploration ◽  
Great Relevance ◽  
The 19Th Century ◽  
First Time

Abstract At the centre of the philosophical tradition of Armenia is a thinker who in the Western tradition carries the Latin names ‘David Armenius philosophus’ or ‘David invincibilis’. Today, international philosophical-historical research is increasingly concerned with the enigmatic corpus of the works that have been handed down under the name of David. The historical-critical exploration of early Armenian philosophy and its specific achievements, as well as its intense relationship to late antique Byzantine thought, were, however, initiated by important scholars of Western Europe at the beginning of the 19th century. Before this time, there were few reliable references to ‘David’ in Western European research literature. It was the orientalist Carl Friedrich Neumann (1798–1870) who brought about the turnaround. He studied in Heidelberg with Creuzer and Hegel, learned the Armenian language from the Mechitarists in Venice, and found inspiration in Paris. Then he examined the available Armenian and Greek sources of the Corpus Davidis and collected his findings in a monograph in 1829. Neumann’s deeply philosophical mind is clearly revealed in this treatise, entitled Mémoire sur la vie et les ouvrages de David. With great certitude, he traced down the pieces of information from David’s writings, as well as from the related ancient Armenian sources, which had great relevance for further research. These findings included communications on the biography of David and his own works, as well as on Aristotle, late antique Aristotelianism and Neoplatonism. Almost inevitably, Neumann also fell victim to errors, which, however, does not diminish his importance as a pioneer of research into late antique Armenian philosophy. Neumann put David on the map for Western scholars, thus prompting a wider interest in the hitherto isolated Armenian philosophical thought for the first time.

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

A.YE. BEIDEMAN’S MURALS IN ST. ALEXANDER NEVSKY CATHEDRAL IN PARIS IN CONNECTION WITH THE CRIMEAN PERIOD OF THE ARTIST’S OEUVRE

2021 ◽  
pp. 149-162
Author(s):  
Vitalii V. Zherdiev ◽  
Keyword(s):  
Western Europe ◽  
Field Research ◽  
Research Experience ◽  
Mary Magdalene ◽  
John The Baptist ◽  
John Chrysostom ◽  
The Right ◽  
The 19Th Century ◽  
First Time ◽  
The Temple

The article is about the little-known murals in St. Alexander Nevsky Cathedral in Paris (1859– 1861, architect R.I. Kuzmin), painted by Alexander Yegorovich Beideman (1826–1869). The scientific novelty of the results obtained is in the fact that for the first time A. Beideman’s religious works from the Parisian cycle are introduced and placed into scientific circulation. This cycle is master’s most significant preserved religious work and unique in the Orthodox ecclesiastical art of Western Europe of the second half of the 19th century. Although such brilliant masters as E.S. Sorokin, P.S. Sorokin, M.N. Vasilyev and F.A. Bronnikov worked on the creation of the polychrome ensemble of the Parisian cathedral together with Beideman, his murals in Paris became one of the first in the academic period of Russian ecclesiastical art, in which the transition to the traditions of Byzantine iconography was manifested. Beideman painted eighteen images in the lower part of the temple and on the pillars. Images of Our Lady of Akhtyr with St. Mary Magdalene and St. John are in the niche to the left of the central apse; the Deesis with the Virgin and St. John the Baptist is in the niche to the right of the central apse. Images of Christ the Great Bishop, St. Jacob the Apostle, St. John Chrysostom, St. Basil the Great and St. Gregory the Theologian are in the central apse. Images of St. Mitrofan of Voronezh and St. Joseph the Songwriter are in the sacristy. The image of New Testament Trinity is in the conch. Images of Metropolitans of Moscow Peter, Alexius, Jonah, and Philip are on the pillars below the evangelists. The artist avoided a bright palette, working mainly in the ocher-silver gamma, which, along with the frontality and pronounced statics, gave a sense of “incorporeity” to the figures of the saints. The closeness to the traditional iconography was given by the monumental architectonics of the flowing robes and the almost iconographic austerity of the faces. But, nevertheless, there is a big difference in the style solution of Beideman’s paintings in the Parisian cathedral compare to his easel and monumental works of different years. Especially comparing to Beideman’s watercolor etudes for the murals in the Holy Cross Exaltation Church in Livadiya (architect I.A. Monighetti) and St. Olga church of in Mikhailovka near Strelna (architect D.I. Grimm). The author of the article comes to the conclusion, based on the field research materials, his own restoration and research experience and the comparison of Beideman’s surviving works, in particular, in Livadiya, that the painting in the Parisian cathedral could have been somewhat modified over time. But the artist’s conscious stylistic manner is also possible. The chronology of Beideman’s creative path, the exact period of his work in Paris, has been clarified in comparison with the period of his work in the Livadiya church in Crimea.

Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)

2009 ◽  
Vol 50 (3-4) ◽  
pp. 203-220
Author(s):  
Anna Dalos
Keyword(s):  
19Th Century ◽  
Cultural Policy ◽  
Western Europe ◽  
Music History ◽  
Young Generation ◽  
Major Scale ◽  
Western European ◽  
The 19Th Century ◽  
First Time ◽  
The Revolution

After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the memory of Arturo Toscanini, was rejected by the young generation of composers and also Hungarian music critics, who turned themselves for the first time against the much-revered figure of authority. The Symphony’s emphasis on C major, its conventional forms, Brahms-allusions, pseudo self-citations and references to the 19th-century symphonic tradition were also received without comprehension in Western Europe. Kodály’s letters and interviews indicate that the composer suffered disappointment in this negative reception. Drawing on manuscript sources, Kodály’s statements and the Symphony itself, my study argues that the three movements can be read as caricature-like self-portraits of different phases of the composer’s life (the young, the mature and the old) and that Kodály identified himself with the symphonic genre and the C-major scale.

scholarly journals The Other Europe: Identity Problems of Central Europe

Politeja ◽  
2019 ◽  
Vol 15 (6(57)) ◽  
pp. 81-89
Author(s):  
Alvydas Jokubaitis
Keyword(s):  
Central Europe ◽  
Western Europe ◽  
Milan Kundera ◽  
Philosophical Tradition ◽  
Czeslaw Milosz ◽  
European Tradition ◽  
Political Traditions ◽  
Western European ◽  
The 19Th Century ◽  
Identity Problems

Philosophers in Central Europe are highly dependent on the Western European tradition of philosophy, while politicians in the region tend to use arguments that are often foreign to the ones used in Western Europe. The philosophical tradition of Central Europe is dependent on Western European tradition – it would be impossible to speak about any kind of distinct regional philosophical paradigm. The situation with political self‑understanding in the region is very different. The politicians in the region are aware of the various differences between the two cultural and political traditions. Today these differences have become especially clear in various disagreements between politicians from the Visegrád Group and their colleagues in Western Europe. Politicians from Central Europe propose their own understanding of the meaning of Western civilization. This phenomenon can be described as a new political Messianism. The old Messianims of the 19th century today are being replaced by new consciousness of the specific mission of the region. Conservative politicians propose an understanding of the region which is based on cultural differences from Western Europe. Various conceptions about the singular identity of the region that were developed in the ninth decade of the 20th century by Czesław Miłosz, Milan Kundera and György Konràd today are gaining a new political significance.

Bonobos

2018 ◽  
Keyword(s):  
19Th Century ◽  
Historical Data ◽  
Line Drawings ◽  
History Of ◽  
The 19Th Century ◽  
First Time

This is a comprehensive, illustrated catalogue of the 200+ marine chronometers in the collections of Royal Museums Greenwich. Every chronometer has been completely dismantled, studied and recorded, and illustrations include especially commissioned line drawings as well as photographs. The collection is also used to illustrate a newly researched and up-to-date chapter describing the history of the marine chronometer, so the book is much more than simply a catalogue. The history chapter naturally includes the story of John Harrison’s pioneering work in creating the first practical marine timekeepers, all four of which are included in the catalogue, newly photographed and described in minute detail for the first time. In fact full technical and historical data are provided for all of the marine chronometers in the collection, to an extent never before attempted, including biographical details of every maker represented. A chapter describes how the 19th century English chronometer was manufactured, and another provides comprehensive and logically arranged information on how to assess and date a given marine chronometer, something collectors and dealers find particularly difficult. For further help in identification of chronometers, appendices include a pictorial record of the number punches used by specific makers to number their movements, and the maker’s punches used by the rough movement makers. There is also a close-up pictorial guide to the various compensation balances used in chronometers in the collection, a technical Glossary of terms used in the catalogue text and a concordance of the various inventory numbers used in the collection over the years.

Recycling and Reuse in the Roman Economy

2020 ◽  
Keyword(s):  
Building Materials ◽  
Computational Modelling ◽  
Late Antique ◽  
Roman Economy ◽  
Wide Range ◽  
The Status ◽  
Recent Developments ◽  
Methodological Approaches ◽  
First Time ◽  
Site Types

The recycling and reuse of materials and objects were extensive in the past, but have rarely been embedded into models of the economy; even more rarely has any attempt been made to assess the scale of these practices. Recent developments, including the use of large datasets, computational modelling, and high-resolution analytical chemistry, are increasingly offering the means to reconstruct recycling and reuse, and even to approach the thorny matter of quantification. Growing scholarly interest in the topic has also led to an increasing recognition of these practices from those employing more traditional methodological approaches, which are sometimes coupled with innovative archaeological theory. Thanks to these efforts, it has been possible for the first time in this volume to draw together archaeological case studies on the recycling and reuse of a wide range of materials, from papyri and textiles, to amphorae, metals and glass, building materials and statuary. Recycling and reuse occur at a range of site types, and often in contexts which cross-cut material categories, or move from one object category to another. The volume focuses principally on the Roman Imperial and late antique world, over a broad geographical span ranging from Britain to North Africa and the East Mediterranean. Last, but not least, the volume is unique in focusing upon these activities as a part of the status quo, and not just as a response to crisis.

scholarly journals Catalogue of the primatological collection of the Torino University

2016 ◽  
Vol 3 (2) ◽  
pp. 3 ◽  
Author(s):  
Mara Calvini ◽  
Maria Stella Siori ◽  
Spartaco Gippoliti ◽  
Marco Pavia
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Great Part ◽  
Type Specimen ◽  
Zoological Garden ◽  
Historical Material ◽  
The 19Th Century ◽  
First Time

The revised catalogue of primatological material stored in the Museo Regionale di Scienze Naturali of Torino and in the Dipartimento di Scienze della Vita e Biologia dei Sistemi of the Università degli Studi di Torino and belonging to the historical material of the Torino University is introduced. The material, 494 specimens belonging to 399 individuals of 122 taxa, is of particular importance since specimens were mainly obtained during the 19th Century and the beginning of the 20th Century. A relevant part of the collection was created by the collaborators of the Museum, among which it is worth to mention F. De Filippi, A. Borelli and E. Festa, while other material came from purchases and donations from private people or the Royal Zoological Garden of Torino. Great part of the specimens is stuffed but also the osteological materials are of particular importance, as many of them derived from the specimens before being prepared and consisting of skulls or more or less complete skeletons. After this revision, the Lectotype and Paralectotypes of <em>Alouatta</em> <em>palliata</em> <em>aequatorialis</em> have been selected, and the type-specimen of the <em>brunnea</em> variety of <em>Cebus</em> <em>albifrons</em> <em>cuscinus</em> has been recognized. In addition, some specimens of particular historical-scientific importance have also been identified and here presented for the first time.

Business model of garment enterprises: a scientometric review

2021 ◽  
Vol 91 (13-14) ◽  
pp. 1609-1626
Author(s):  
Yuran Jin ◽  
Xiangye Song ◽  
Jinhuan Tang ◽  
Xiaodong Dong ◽  
Huisheng Ji
Keyword(s):  
Conference Proceedings ◽  
Social Science ◽  
Business Model ◽  
Western Europe ◽  
Business Models ◽  
New Technologies ◽  
Citation Index ◽  
The United States ◽  
Fast Fashion ◽  
First Time

The research on the business model of garment enterprises (BMGE) has expanded rapidly in the last decade. However, there is still a lack of comprehensive reviews of it, let alone visual research. Based on scientometrics, in this paper 118 papers and their 4803 references from Science Citation Index Expanded, Social Sciences Citation Index, Conference Proceedings Citation Index—Science, and Conference Proceedings Citation Index—Social Science & Humanities for the period 2010–2020 about the BMGE were analyzed by visualizing the co-cited references, co-occurrence keywords, burst references, dual-map overlays, and more with CiteSpace, Google Maps, and VOSviewer. The research revealed the intellectual landscapes of the BMGE for the first time and mapped the landmark papers, hotspots and trends, national or regional distributions and their cooperation networks, highly cited authors, and prestigious journals and disciplines related to the BMGE. The results show that the biggest hotspot is the fast fashion business model; social responsibility, smart fashion, Internet of Things, and sharing fashion are the main emerging hotspots; and the research focuses has evolved from traditional business models to business models driven by new technologies, then to new issues such as circular economy models. The institutions are mainly distributed in China, the United States, and Western Europe, and there is cooperation between more than 11 countries. The most popular disciplines are economics and politics, while psychology, education, and social science are the essential basic disciplines. The Journal of Cleaner Production and Journal of Fashion Marketing and Management, among others, actively promoted the research.

The Canons of John Mauropous

1947 ◽  
Vol 37 (1-2) ◽  
pp. 70-73 ◽  
Author(s):  
Joan Hussey
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Western Europe ◽  
Eleventh Century ◽  
Orthodox Church ◽  
Short Introduction ◽  
John Chrysostom ◽  
The University ◽  
First Time ◽  
Service Books

John Mauropous, an eleventh-century Metropolitan of Euchaïta, has long been commemorated in the service books of the Orthodox Church. The Synaxarion for the Office of Orthros on 30th January, the day dedicated to the Three Fathers, St. Basil the Great, St. Gregory the Theologian, and St. John Chrysostom, tells how the festival was instituted by Mauropous and describes him as ‘the well-known John, a man of great repute and well-versed in the learning of the Hellenes, as his writings show, and moreover one who has attained to the highest virtue’. In western Europe something was known of him certainly as early as the end of the sixteenth century; his iambic poems were published for the first time by an Englishman in 1610, and his ‘Vita S. Dorothei’ in the Acta Sanctorum in 1695. But it was not until the second half of the nineteenth century that scholars were really able to form some idea of the character and achievement of this Metropolitan of Euchaïta. Particularly important were two publications: Sathas' edition in 1876 of Michael Psellus' oration on John, and Paul de Lagarde's edition in 1882 of some of John's own writings. This last contained not only the works already printed, but a number of hitherto unpublished sermons and letters, together with the constitution of the Faculty of Law in the University of Constantinople, and a short introduction containing part of an etymological poem. But there remained, and still remains, one significant omission: John's canons have been almost consistently neglected.

scholarly journals Giovanni Aldini: From Animal Electricity to Human Brain Stimulation

2004 ◽  
Vol 31 (4) ◽  
pp. 576-584 ◽  
Author(s):  
André Parent
Keyword(s):  
Electric Current ◽  
Brain Stimulation ◽  
Experimental Physics ◽  
Influential Book ◽  
The University ◽  
Luigi Galvani ◽  
The 19Th Century ◽  
First Time ◽  
Deep Brain ◽  
Crucial Experiments

Two hundred years ago, Giovanni Aldini published a highly influential book that reported experiments in which the principles of Luigi Galvani (animal electricity) and Alessandro Volta (bimetallic electricity) were used together for the first time. Aldini was born in Bologna in 1762 and graduated in physics at the University of his native town in 1782. As nephew and assistant of Galvani, he actively participated in a series of crucial experiments with frog's muscles that led to the idea that electricity was the long-sought vital force coursing from brain to muscles. Aldini became professor of experimental physics at the University of Bologna in 1798. He traveled extensively throughout Europe, spending much time defending the concept of his discreet uncle against the incessant attacks of Volta, who did not believe in animal electricity. Aldini used Volta's bimetallic pile to apply electric current to dismembered bodies of animals and humans; these spectacular galvanic reanimation experiments made a strong and enduring impression on his contemporaries. Aldini also treated patients with personality disorders and reported complete rehabilitation following transcranial administration of electric current. Aldini's work laid the ground for the development of various forms of electrotherapy that were heavily used later in the 19th century. Even today, deep brain stimulation, a procedure currently employed to relieve patients with motor or behavioral disorders, owes much to Aldini and galvanism. In recognition of his merits, Aldini was made a knight of the Iron Crown and a councillor of state at Milan, where he died in 1834.

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