Drugs

2013 ◽  
Author(s):  
Edward Shorter
Keyword(s):  
Twentieth Century ◽  
First Generation ◽  
Psychiatric Disease ◽  
Public Health Issue ◽  
Organic Chemical ◽  
Nervous Disease ◽  
Ancient Times ◽  
The 1960S ◽  
Sedative Drugs ◽  
Organic Chemical Industry

History has always known antidepressant remedies. In an era of faith, the faithful held to the Word as an augury of recovery: “cast down, but not destroyed.” But in a secular era and certainly by the middle of the twentieth century, pharmacological remedies were required. Indeed they were urgently indicated, for the diagnosis of depression itself was starting to spread. Because of Kraepelin and Freud, by 1940 depression had become a common term for serious psychiatric disease. An editorial in the Lancet called depression “perhaps the most unpleasant illness that can fall to the lot of man.” Depression was thus, while not terribly common, a considerable public health issue. What is puzzling in this story is that around 1940 depression began an inexorable, irreversible climb from awful but unusual to epidemic status. With the 1960s, depression started to become epidemic. One reason for the upswing in depression in mid-twentieth century was the cheering of the pharmaceutical industry. The drugs of the first generation of psychoactive medications were indicated for nervous disease, but there after the firms switched to depression because here were clearly the markets of the future. The early drugs represented an effective treatment for nervous disease. Their effect was sedation, and sedative drugs in medical practice go back to opium and to members of the belladonna family that have been known since Ancient times. Sedation means the process of calming, or allaying excitement. It does not necessarily involve the obtunding of consciousness, although large doses of sedatives may do that. Sedation means easing the pain of being, soothing the griefs and worries of existence, and calming the depressive and anxious agitation of the nervous syndrome. Although we all have worries and anxieties, we do not all have a pathological syndrome called nervousness. Historically, it was those with nerves who benefited from the early psychopharmacological treatments, beginning with the bromides at mid-nineteenth century. The first sedative made by chemical synthesis, chloral hydrate, was used clinically in 1869. A succession of sedatives from the organic chemical industry followed.

scholarly journals Многозначность мотива преображения народной культуры в творчестве В. А. Солоухина (на материале рассказа «Двадцать пять на двадцать пять»)

2019 ◽  
pp. 189-195
Author(s):  
Сергей Александрович Журавлев
Keyword(s):  
Twentieth Century ◽  
Short Story ◽  
Mass Culture ◽  
First Generation ◽  
Folk Culture ◽  
Central Russia ◽  
Folk Traditions ◽  
Gradual Loss ◽  
1960S And 1970S ◽  
The 1960S

Рассказ В.А. Солоухина «Двадцать пять на двадцать пять» (1974) становится эмпирическим материалом для рассмотрения ситуации, связанной со сменой социокультурных парадигм в жизни села Центральной России. Автор использует в тексте рефлексивное переплетение хронологических пластов, посредством которого показан процесс постепенной утраты живых народных традиций как в городе, так и на селе. Личностно окрашенные воспоминания об особенностях проведения народных праздников в русской деревне первой половины ХХ в. соотносятся с наблюдениями за реалиями 1960-1970-х годов. Действие рассказа происходит в селе Преображенское в его престольный праздник Преображения. Это название неоднократно повторяется в рассматриваемом тексте, помогая спроецировать модель сопоставления старого и нового общества. В рассказе В.А. Солоухина звучит мотив преображения, трансформации, изменения современной ему действительности. Герой текста горожанин в первом поколении Андрей Воронов испытывает ностальгию по народным обычаям, типичным для первой половины ХХ в. Предметным воплощением прежней деревенской народной культуры является гармонь. В довоенной традиции этот инструмент создавал и менял обстановку, задавал настроение, пользовался большим уважением на селе. Позднее на фоне урбанизации общества, распространения массовой культуры и доминирования принципов потребления, гармонь теряет свою былую привлекательность и воспринимается молодежью как предмет архаики. В.А. Солоухин совмещает в своем рассказе черты художественного текста и этнографического очерка. Писатель проводит экскурс в мир праздничных народных традиций, вспоминает о важной роли гармони и гармониста в жизни русского села. Затем на художественном материале показывает преображение известной ему с детства действительности. V. A. Soloukhin's short story "Twenty five by twenty five" (1974) becomes an empirical material for the consideration of the situation associated with the change of socio-cultural paradigms in rural life in Central Russia. The author uses in the text a reflexive interweaving of chronological layers, through which the process of gradual loss of living folk traditions both in the city and in the countryside is shown. Personal memories of the peculiarities of folk festivals in the Russian village of the first half of the twentieth century correlate with observations of the realities of the 1960s and 1970s. The story takes place in the village of Preobrazhenskoye on its patronal feast of the Transfiguration. This name is repeated in the text under consideration, helping to project a model of comparison of old and new society. In V. A. Soloukhin's story the motive of transformation, of changes of the reality manifests itself. The hero of the text, a citizen in the first generation, Andrei Voronov, is nostalgic for folk customs typical of the first half of the twentieth century. The subject embodiment of the former village folk culture is the garmon (the Russian button accordion). In the pre-war tradition, this instrument created and changed the situation, set the mood, enjoyed great respect in the countryside. Later, against the background of the urbanization of society, the spread of mass culture and the dominance of the principles of consumption, the garmonloses its former appeal and is perceived by young people as an archaic object. V. A. Soloukhin combines the features of a literary text and an ethnographic essay in his story. The writer makes an excursion into the world of festive folk traditions, recalls the important role of the garmon and its player in the life of the Russian village. Then, on the artistic material, he shows the transformation of the reality known to him since childhood.

Studying Modern Arabic Literature

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Arab World ◽  
Public Intellectual ◽  
Arabic Literature ◽  
Global Culture ◽  
The West ◽  
Teaching And Research ◽  
The Face ◽  
The 1960S ◽  
Modern Arabic

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

The Pioneers of Iranian New Painting

2020 ◽  
Vol 13 (1) ◽  
pp. 98-115
Author(s):  
Alice Bombardier
Keyword(s):  
First Generation ◽  
Social Value ◽  
Popular Opinion ◽  
Profound Impact ◽  
Difficult Time ◽  
The 1960S

Abstract In an interview, the Iranian painter Ahmad Esfandiari (1922–2012) related that he witnessed a particularly difficult time at the beginning of his career, when he did not know what direction his work might take. Slowly he overcame this fear of the unknown and discovered ‘the pleasure of uncharted paths’. But the critics did not see any social value in his work (Mojabi 1998: 155). In his testimony, Ahmad Esfandiari described the tumultuous 1940s, during which an innovative pictorial style called ‘New Painting’ appeared in Iran. Contrary to popular opinion, contemporary Iranian painting did not begin in the 1960s with the Saqqakhaneh group of artists. Its origins can be found in the 1940s. In this article, conceived as a manifesto, I introduce the first generation of New Painting artists and I argue against a canon that has overlooked them in spite of their innovative accomplishments and profound impact.

The Revival of Quantification: Reflections on Old New Histories

2021 ◽  
Vol 45 (1) ◽  
pp. 1-25
Author(s):  
Steven Ruggles
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Economic History ◽  
Historical Analysis ◽  
The United States ◽  
First Century ◽  
Third Wave ◽  
Late Twentieth ◽  
The 1960S ◽  
Second Wave

AbstractQuantitative historical analysis in the United States surged in three distinct waves. The first quantitative wave occurred as part of the “New History” that blossomed in the early twentieth century and disappeared in the 1940s and 1950s with the rise of consensus history. The second wave thrived from the 1960s to the 1980s during the ascendance of the New Economic History, the New Political History, and the New Social History, and died out during the “cultural turn” of the late twentieth century. The third wave of historical quantification—which I call the revival of quantification—emerged in the second decade of the twenty-first century and is still underway. I describe characteristics of each wave and discuss the historiographical context of the ebb and flow of quantification in history.

Separation of phenols from oils using deep eutectic solvents and ionic liquids

2020 ◽  
Vol 92 (10) ◽  
pp. 1717-1731
Author(s):  
Yucui Hou ◽  
Zhi Feng ◽  
Jaime Ruben Sossa Cuellar ◽  
Weize Wu
Keyword(s):  
Ionic Liquids ◽  
Phenolic Compounds ◽  
High Efficiency ◽  
Deep Eutectic Solvents ◽  
Environmentally Benign ◽  
Organic Chemical ◽  
Environmental Friendliness ◽  
Oil Mixtures ◽  
Organic Chemical Industry

AbstractPhenolic compounds are important basic materials for the organic chemical industry, such as pesticides, medicines and preservatives. Phenolic compounds can be obtained from biomass, coal and petroleum via pyrolysis and liquefaction, but they are mixtures in oil. The traditional methods to separate phenols from oil using alkaline washing are not environmentally benign. To solve the problems, deep eutectic solvents (DESs) and ionic liquids (ILs) have been developed to separate phenols from oil, which shows high efficiency and environmental friendliness. In this article, we summarized the properties of DESs and ILs and the applications of DESs and ILs in the separation of phenols and oil. There are two ways in which DESs and ILs are used in these applications: (1) DESs formed in situ using different hydrogen bonding acceptors including quaternary ammonium salts, zwitterions, imidazoles and amides; (2) DESs and ILs used as extractants. The effect of water on the separation, mass transfer dynamics in the separation process, removal of neutral oil entrained in DESs, phase diagrams of phenol + oil + extractant during extraction, are also discussed. In the last, we analyze general trends for the separation and evaluate the problematic or challenging aspects in the separation of phenols from oil mixtures.

American Legal Thought in Transatlantic Context, 1870-1914

2021 ◽  
Author(s):  
David M. Rabban
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
First Generation ◽  
The United States ◽  
Recent Book ◽  
Historical School ◽  
Legal Thought ◽  
Early Twentieth Century ◽  
Sociological Jurisprudence

Most American legal scholars have described their nineteenth-century predecessors as deductive formalists. In my recent book, Law’s History : American Legal Thought and the Transatlantic Turn to History, I demonstrate instead that the first generation of professional legal scholars in the United States, who wrote during the last three decades of the nineteenth century, viewed law as a historically based inductive science. They constituted a distinctive historical school of American jurisprudence that was superseded by the development of sociological jurisprudence in the early twentieth century. This article focuses on the transatlantic context, involving connections between European and American scholars, in which the historical school of American jurisprudence emerged, flourished, and eventually declined.

Tito Caula’s photographic imaginary and mid-century Caraqueño modernity

2021 ◽  
Vol 8 (1) ◽  
pp. 57-79
Author(s):  
Russell White
Keyword(s):  
Twentieth Century ◽  
North American ◽  
The United States ◽  
Consumer Society ◽  
Left Wing ◽  
Shopping Malls ◽  
Urban Forms ◽  
Economic Boom ◽  
The 1960S ◽  
Physical Changes

The photography of the Argentinian photographer Francisco ‘Tito’ Caula tracked some of the key social and physical changes that Caracas underwent during the middle decades of the twentieth century. This period saw the country transition from dictatorship to democracy. Caula’s advertising photographs together with his images of spectacular spaces and buildings such as the Sabana Grande and the Centro Simón Bolívar presented Caracas as a mecca of mid-century ‘petro-modernity’ (LeMenager 2014). In contrast to late nineteenth- and early-twentieth-century modernity, which was predominantly European in influence, Caraqueño modernity at mid-century was more cosmopolitan, taking particular inspiration from the United States. Caula’s photographs speak to the process of Americanization, defined as the adoption of North American cultural products, urban forms and patterns of living that Venezuela underwent during the years Caula spent in the country. Venezuela witnessed an economic boom in the 1960s and 70s, which was fuelled by the US acquisition of Venezuelan oil. In Venezuela, the boom facilitated the growth of a consumer society as well as the development of such quintessentially North American urban forms as freeways, shopping malls, drive-in movie theatres, suburbs and skyscrapers. It was also accompanied by the adoption of violent security tactics by the state’s security apparatus and the political marginalization of the radical left. Given that Caula held left-wing views, it is perhaps surprising that his photographs (at least those that have been published) do not explore the tensions at the heart of the Pacto de Punto Fijo, instituted to ensure that the transition from dictatorship to democracy would hold following elections in 1958. The celebration of North American influence within Caula’s photographs puts them in dialogue with critical perspectives that have seen US cultural influence rather more negatively. Moreover, their celebration of prosperity and their presentation of Caracas as an exciting city means that, for some, they have taken on a nostalgic hue.

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