scholarly journals Exhibitions, patents, and innovation in the early twentieth century: evidence from the Turin 1911 International Exhibition

2019 ◽  
Vol 24 (3) ◽  
pp. 578-600 ◽  
Author(s):  
Giacomo Domini
Keyword(s):  
Twentieth Century ◽  
International Exhibition ◽  
Primary Products ◽  
Early Twentieth Century ◽  
Depth Analysis ◽  
International Exhibitions ◽  
Do So ◽  
French Model ◽  
Great Exhibition

Abstract This paper investigates the relevance for innovation of international exhibitions. While the first of these events, i.e., London’s 1851 Great Exhibition, was an “exhibition of innovations,” many of the subsequent ones, following the model of industrial exhibitions developed in France, did not select exhibits based on novelty. In fact, they displayed a large spectrum of products, ranging from machines to primary products. Therefore, the suitability of data from their catalogs for proxying innovation, and their relationship to the traditional patent measure, should be better qualified. To do so, this paper performs an in-depth analysis of the Turin 1911 international exhibition, a medium-sized representative “French-model” exhibition. It matches a new database, built from the catalog of this event, with patents granted in Italy, revealing substantial differences. Furthermore, it evaluates how inventors could use the exhibition to promote their ideas, establish their reputation, and develop their career.

‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851

After 1851 ◽  
2017 ◽  
Author(s):  
Kate Nichols ◽  
Sarah Victoria Turner
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
The South ◽  
Crystal Palace ◽  
International Exhibitions ◽  
Art Works ◽  
Nineteenth And Twentieth Centuries ◽  
Sydenham Crystal Palace ◽  
Great Exhibition

This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.

scholarly journals Twelve Bottles of Whiskey

2014 ◽  
Vol 52 (1) ◽  
pp. 9
Author(s):  
Jack Watson
Keyword(s):  
Twentieth Century ◽  
United Kingdom ◽  
Thirteenth Century ◽  
Rule Of Law ◽  
Judicial Review ◽  
The Rule Of Law ◽  
Early Twentieth Century ◽  
Depth Analysis ◽  
History Of

This article provides an in-depth analysis of the history of certiorari and judicial review as it pertains to the rule of law. The article opens with a brief examination of the conviction of Nat Bell Liquors Ltd. during prohibition-era Edmonton in 1920, and explains how twelve bottles of whiskey brought about a sea change in the foundational law of Canada. The article details the development of judicial review,beginning in thirteenth century United Kingdom, noting its progression and change over the course of centuries. The article provides an account of certiorarias a replacement avenue where appeal is not available, and highlights notable Canadian jurisprudence from the early twentieth century to the present day.

In Search of One Word's Meaning: Zaman in Early Twentieth-Century Kano

1997 ◽  
Vol 24 ◽  
pp. 95-115 ◽  
Author(s):  
Allan Christelow
Keyword(s):  
Twentieth Century ◽  
West African ◽  
Colonial Rule ◽  
Oral Discourse ◽  
Early Twentieth Century ◽  
British Rule ◽  
Do So

When Caliph Attahiru of Sokoto chose flight over submission to the British in March 1903, it was left to the blind and aging Waziri, Muhammad al-Bukhari, to provide those who remained behind with an explanation of how they could remain good Muslims while accepting infidel rule. Citing a text of the caliphate's founder, Shehu ʿUthman Dan Fodio, he argued that one could befriend the British with the tongue, without befriending them with the heart. It remained for others to develop the vocabulary that their tongues would need for this task.A particularly intriguing item in the vocabulary that emerged during the turbulent first decade of colonial rule was a new usage of zaman(time, era) that occurs in the records of the Emir of Kano's judicial council in such terms as hukm al-zaman (rule of the era) and ʿumur al-zaman (things of the era). It is worth noting that the judicial council did not keep written records before being instructed to do so by British Resident C.L. Temple in 1909, so the records might be seen as preserving what was essentially oral discourse—expressions of the tongue. These terms occur uniquely in relation to legal matters in which the British had intervened. Understanding them can shed new light on the religious and political adaptation of northern Nigerian Muslim leaders to life under British rule. To explore their meaning requires a threefold process of examining various usages and understandings of zaman in non-legal sources; describing how the judicial council used the word; and then analyzing how this usage may have been related to any of a number of influences, ranging from British officials to West African Islamic scholars to Western-educated North Africans passing through the region.

INSANITY AND PARRICIDE IN LATE IMPERIAL CHINA (EIGHTEENTH–TWENTIETH CENTURIES)

2013 ◽  
Vol 10 (2) ◽  
pp. 115-141 ◽  
Author(s):  
Luca Gabbiani
Keyword(s):  
Twentieth Century ◽  
Capital Punishment ◽  
Cultural Context ◽  
Severe Form ◽  
Judicial Process ◽  
Late Imperial China ◽  
Political Issues ◽  
Late Imperial ◽  
Early Twentieth Century ◽  
Depth Analysis

This article provides an in-depth analysis of the reasons for which insane individuals who had committed patricide were systematically sentenced to dismemberment (lingchi 凌遲) under the Qing dynasty (1644–1911), the most severe form of capital punishment that could be called for in the state's administrative and penal Code. This extreme harshness ran contrary to several “theoretical” foundations of Chinese traditional law, first and foremost the principle of criminal intent. Through the study of such criminal cases, and others legally affiliated to patricide, spanning the seventeenth to the early twentieth century, it underlines the importance of the relationship between a parent and his child, which was prominent in China's moral and cultural context at the time. It also stresses the role of political issues related to the legitimacy of the imperial state and to the upholding of the legality of its judicial process. Even though legal tools existed in the Qing Code, which would have allowed for a more lenient approach, and notwithstanding the Qing authorities' ongoing effort at defining specific legal procedures for insane homicides, lingchi was systematically applied to insane patricides until the early twentieth century, when the far-reaching legal reforms implemented during the last years of the imperial regime progressively opened the way for the recognition of the legal irresponsibility of insane individuals.

Strangling blondes: nineteenth-century femininity and Korngold's Die tote Stadt

2011 ◽  
Vol 23 (1-2) ◽  
pp. 51-82
Author(s):  
Ben Winters
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Early Twentieth Century ◽  
Otto Weininger ◽  
Gender Theories ◽  
The Relationship ◽  
Do So ◽  
Gender Discourses

AbstractResponses to Korngold's 1920 opera Die tote Stadt have long been filtered through the lens of his later Hollywood career. To do so, however, not only risks misunderstanding the relationship between these two different spheres of the composer's output, but also ignores the opera's complex positioning within the gender discourses of early twentieth-century Vienna. This article offers a corrective to the clichéd view of Korngold the ‘pre-filmic’ opera composer by arguing that, in its treatment of the characters Marie and Marietta, Die tote Stadt draws on a tradition of ‘strangling blonde’ imagery from the nineteenth century in order to critique the gender theories of Otto Weininger (1880–1903), which were still current in the 1920s. As such, in its concern with the nature of femininity, Die tote Stadt also draws our attention to the modern woman who had just entered the composer's life, Luise (Luzi) von Sonnenthal.

Conclusion

2018 ◽  
Author(s):  
Phillip Drew
Keyword(s):  
Twentieth Century ◽  
Legal Framework ◽  
Customary Law ◽  
The Core ◽  
Early Twentieth Century ◽  
The Law ◽  
Do So

The fact that a number of aspects of maritime blockade law are not settled in customary law infers that any state that engages in blockade operations risks the possibility that its actions will be found to have been unlawful. Because the consequences of a blockade can be so deleterious to vulnerable civilian populations, it is necessary that a legal framework for maritime blockade be established. At the core of any such framework must be the requirement to address humanitarian issues and concerns. Without such initiatives, the law of blockade will remain mired in the early twentieth century, and states engaging in this method of warfare will do so under a cloud of legal ambiguity.

The Residential Segregation of Immigrants in the United States from 1850 to 1940

2019 ◽  
Vol 79 (4) ◽  
pp. 989-1026 ◽  
Author(s):  
Katherine Eriksson ◽  
Zachary Ward
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Lived Experience ◽  
Residential Segregation ◽  
Rural Areas ◽  
Slow Rate ◽  
The United States ◽  
Time And Space ◽  
Early Twentieth Century ◽  
Do So

We provide the first estimates of immigrant residential segregation between 1850 and 1940 that cover the entire United States and are consistent across time and space. To do so, we adapt the Logan–Parman method to immigrants by measuring segregation based on the nativity of the next-door neighbor. In addition to providing a consistent measure of segregation, we also document new patterns such as high levels of segregation in rural areas, in small factory towns and for non-European sources. Early twentieth-century immigrants spatially assimilated at a slow rate, leaving immigrants’ lived experience distinct from natives for decades after arrival.

scholarly journals “Making people buy and eat differently”: lessons from the modernisation of small independent grocery stores in the early twentieth century

2017 ◽  
Vol 99 (1) ◽  
pp. 15-35 ◽  
Author(s):  
Franck Cochoy
Keyword(s):  
Twentieth Century ◽  
Food Studies ◽  
Food Products ◽  
Grocery Stores ◽  
Know How ◽  
Early Twentieth Century ◽  
Self Service ◽  
The Many ◽  
Radical Movement ◽  
Do So

Abstract Food studies teach us much about foods and eaters, but despite their impressive coverage and richness, they pay little attention to what occurs between the two: they tend to neglect the many market professionals and “market-things” that act as a bridge between food products and consumers. This paper proposes to fill the gap by examining how the transformation of the grocery business and related techniques contributed to reshaping the food industry’s strategies, the content of foods and the identity of eaters. This investigation was conducted by studying the trade magazine Progressive Grocer over the period 1922–1959. It shows how the journal promoted a new art of “making people buy and eat”. Grocers were invited to modify their practices, hence the eaters’ experience, by implementing two different strategies: a movement of “betterment” of their previous service know-how and then a more radical movement of “replacement” of this know-how by the new “self-service” arrangement. By following these two movements, we understand how grocery professionals and techniques made us buy and eat, but made us do so differently, to the extent that the grocery business and related devices changed foods as well as consumers’ identities.

scholarly journals DEVELOPMENT PECULIARITIES OF DOMESTIC THEORY AND PRACTICE OF USING THEATER ART IN EDUCATIONAL WORK WITH CHILDREN IN THE FIRST THIRD OF THE XX CENTURY

2020 ◽  
pp. 15-29
Author(s):  
Marharita Dergach
Keyword(s):  
Twentieth Century ◽  
Theory And Practice ◽  
Historical Period ◽  
Self Awareness ◽  
Acting Out ◽  
Educational Work ◽  
Theoretical Approaches ◽  
Early Twentieth Century ◽  
Depth Analysis ◽  
The Right

The article presents the results of the analysis of historical materials on the use of theatrical art as a means of education, training and socialization of children by teachers and theatrical practitioners of Ukraine in the early twentieth century. The in-depth analysis of archival sources, manuscripts, and old printed works allowed to distinguish teachers whose achievements allow us to understand the peculiarities of the formation of the theoretical foundations and practice of introducing theatrical art into the educational system of Ukraine. During this historical period, the following issues were raised: the age limits of children's involvement in theatrical creativity, the specifics of the audience; mechanisms of children's dramatic creativity and development of appropriate approaches to the organization of theatrical work with children; requirements for repertoire selection; stages of acquainting children with theatrical art, methods of organizing and conducting rehearsal work, etc. Scholars and educators of the time noted that children and adolescents who played only for their peers and parents could be involved in theatrical work; acquaintance with theatrical art should begin with simple theatrical forms, dramatized games, acting out charades, proverbs, "living pictures" and gradually move on to staging dramatic works; the basis of children's theatrical play are emotional experiences, and therefore the task of the leader is to emotionally captivate the child, put him/her in the right emotional state. Based on the analysis of culturological aspects of the functioning of theatrical art in society, theoretical approaches to understanding the pedagogical possibilities of theater and the practice of using theatrical art in school, it was determined that pedagogical materials of the early twentieth century emphasized the importance of theater for the development of human aesthetics, moral and ethical qualities of the personality, activation of his/her creative forces, psychological and psychophysical characteristics of a child: imagination, memory; self-awareness, emotions, feelings, empathy, communication skills and abilities. Possibilities of theatrical art in fostering children’s mastering a native language, in the training of attentive and competent spectators were defined.

scholarly journals “ELECTRIC PROTO-PERFORMANCE”: ENIGMARELLE THE AUTOMATON AT THE 1938 EXPOSITION INTERNATIONALE DU SURRÉALISME

2021 ◽  
Vol 17 (2) ◽  
pp. 151-170
Author(s):  
DARIA O. MARTYNOVA ◽  
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
International Exhibition ◽  
Scientific Conference ◽  
Electric Pulses ◽  
The Public ◽  
Early Twentieth Century ◽  
The Arts ◽  
The World ◽  
Ideal Person

The following article is based on a report presented at the Arts and Machine Civilization International Scientific Conference. The author analyzes publications related to Enigmarelle and automata in periodicals of the early twentieth century in order to identify the significance of Enigmarelle’s phenomenon at the 1938 International Exhibition of Surrealism. In the course of the study, it was concluded that Enigmarelle became a centerpiece of the opening, a kind of a wobbler that was intended for attraction and intriguing the public. Enigmarelle is a documented curiosity of the early twentieth century, mystified in popular Parisian newspapers of the first half of the century. Initially, Enigmarelle was created only for the entertainment of the public, as the popularity of automaton resumed in connection with the dollomania in the second half of the 20th century. However, for the 1938 International Exhibition of Surrealism in Paris, the surrealists turned Enigmarelle the automaton into an exhibition object and shifted the emphasis of its function from entertaining to symbolic; as a result, the “mechanical human” became the image of an “ideal” person bringing danger and death. This change in the interpretation was facilitated by the hysteria, which is fundamentally significant for the surrealists’ work. Also, Enigmarelle’s paramount significance can be explained by a reference to its connection with Frankenstein. The automaton, a mechanism controlled by electricity, drew parallels with mesmeric practices, during which a body could be controlled by electric pulses. It can be concluded that surrealists turned the popular culture phenomenon, Enigmarelle the automaton, into an exhibit that correlated with the films of the 1920s and 1930s about the revivification and creation of an inanimate being (Frankenstein, 1931, Metropolis, 1927, The Golem: How He came into the World, 1920). Such a presentation was associated with mesmerism and hysteria, which was related to the ocularcentristic concept and surrealists’ pre-war mood. Based on the analysis of publications in periodicals, it can be assumed that Enigmarelle’s phenomenon anticipated viewers’ active involvedness. This, in turn, served as a kind of a binder, uniting the disparate elements of the exhibition.

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