Emanuel Halicz. Partisan Warfare in 19th Century Poland: The Development of a Concept. Translated by Jane Fraser. (Odense University Studies of History and Social Sciences, number 25.) Odense, Denmark: Odense University Press. 1975. Pp. 220. Dkr. 70

1976 ◽  
Vol 81 (4) ◽  
pp. 900
Author(s):  
Piotr S. Wandycz ◽  
Emanuel Halicz ◽  
Jane Fraser

2014 ◽  
Vol 6 (2) ◽  
pp. 40-68
Author(s):  
Bronwen Dalton

The social sciences are bedeviled by terminological promiscuity.  Terms and phrases are used at one time in a certain context and later borrowed and applied in different circumstances to somewhat different phenomena. Sometimes different groups of actors or researchers simultaneously use the same term with somewhat different meanings. Such is the use of the term civil society. In this 5th Anniversary of the Cosmopolitan Civil Societies: An Interdisciplinary Journal, it is timely to trace the evolution of the idea of civil society to its multiple guises in the present. The paper reviews the term’s 18th and 19th century roots, its recent resurrection and the opposing views of civil society, including views that question its applicability to non-western settings. It then discusses prospects for developing agreed approaches to the study of civil society. To guide our thinking the paper presents a brief overview of different approaches to defining civil society taken by some of the major so-called centres for civil society in Australia and internationally. The paper concludes by reflecting on these definitional challenges as it has played out at one particular cross faculty research centre, the University of Technology, Sydney’s Cosmopolitan Civil Societies Research Centre.


2020 ◽  
Author(s):  
Alina Christin Meiwes

The paper focuses on selected animal paintings of French artist Rosa Bonheur (1822–1899). She was the most famous female painter in 19th-century France, creating a huge amount of art works that reflect specific cultural beliefs and values of her time. Bonheur’s pictoral construction of reality shows that her paintings are located at the interface between different artistic strategies. A deep understanding of Bonheur’s work is presented here by drawing connections between animal painting history, social sciences, gender studies and art-historical concepts. In addition, the topic's educational value is explained and connected to contemporary teaching methods.


2016 ◽  
Vol 30 (1) ◽  
pp. 66-93 ◽  
Author(s):  
Harry Freemantle

An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices.


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