The Evolution of Illustrated Texts and Their Effect on Science: Examples from Early American State Geological Reports

Leonardo ◽  
2008 ◽  
Vol 41 (2) ◽  
pp. 120-127 ◽  
Author(s):  
Carol Siri Johnson
Keyword(s):  
19Th Century ◽  
Mass Production ◽  
Information Transfer ◽  
State Legislatures ◽  
Early American ◽  
Science Technology ◽  
Art And Culture ◽  
Printing Processes ◽  
The 19Th Century ◽  
American State

In the 19th century, printing methods made significant advances that allowed mass production of illustrated texts; prior to that time, illustrated texts were expensive and rare. The number of illustrated texts thus rose exponentially, increasing the rate of information transfer among scientists, engineers and the general public. The early American state geological reports, funded by the state legislatures, were among the pioneering volumes that used the new graphic capabilities in the improved printing processes for the advancement of science. They contain thousands of illustrations—woodcuts, etchings, lithographs and hand-painted maps—that may be of interest to historians of science, technology, art and culture.

Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper

2017 ◽  
Vol 62 (1-2) ◽  
pp. 41-46
Author(s):  
Helma Schaefer
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Mass Production ◽  
Art Nouveau ◽  
Paper Production ◽  
Art Deco ◽  
Poor State ◽  
The Poor ◽  
The 19Th Century ◽  
The Middle Ages

In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.

The First American Architectural Journals: The Profession's Voice

1989 ◽  
Vol 48 (2) ◽  
pp. 117-138 ◽  
Author(s):  
Mary Woods
Keyword(s):  
United States ◽  
19Th Century ◽  
General Trend ◽  
Publishing House ◽  
The United States ◽  
Direct Involvement ◽  
Early American ◽  
The 19Th Century ◽  
Widespread Interest ◽  
Pattern Books

American architectural journals first appeared in the second half of the 19th century. Encouraged by advances in printing and graphic technologies, they were part of a general trend toward specialized journalism during this period. The architectural periodical developed along with journals for women, clerics, railroad engineers, and grocers. Yet it also resulted from publishers' desires to capitalize on the success of house pattern books and the widespread interest in architecture that they created. Despite these favorable omens the early American architectural journals foundered; they had troubled and short lives, generally lasting only two years. The premise of this paper is that their success depended on the architectural profession's direct involvement and support and the backing of a major publishing house. Beginning with the first periodicals of the 1850s and 1860s, architectural journalism identified itself with the emerging profession; its editorials asserted the architects' primacy in design and construction and distinguished their role from the builders'. Professional and educational issues, in fact, took precedence over aesthetic and stylistic discussions in editorial columns and articles. Yet the journals displayed the same pragmatism that had characterized builders' guides and pattern books, the first architectural literature published in the United States.

Tecumseh and the Shawnee Resistance Movement

2016 ◽  
Author(s):  
Stephen Warren
Keyword(s):  
North America ◽  
19Th Century ◽  
Early American History ◽  
Early American ◽  
Cultural Ideals ◽  
History Of ◽  
Resistance Movement ◽  
The 19Th Century ◽  
Eastern Half ◽  
Established Order

Described as a “chief among chiefs” by the British, and by his arch-rival, William Henry Harrison, as “one of those uncommon geniuses which spring up occasionally to produce revolutions and overturn the established order of things,” Tecumseh impressed all who knew him. Lauded for his oratory, military and diplomatic skills, and, ultimately, his humanity, Tecumseh presided over the greatest Indian resistance movement that had ever been assembled in the eastern half of North America. His genius lay in his ability to fully articulate religious, racial, and cultural ideals borne out of his people’s existence on fault lines between competing empires and Indian confederacies. Known as “southerners” by their Algonquian relatives, the Shawnees had a history of migrating between worlds. Tecumseh, and his brother, Tenskwatawa, converted this inheritance into a widespread social movement in the first decade and a half of the 19th-century, when more than a thousand warriors, from many different tribes, heeded their call to halt American expansion along the border of what is now Ohio and Indiana. Tecumseh articulated a vision of intertribal, pan-Indian unity based on revitalization and reform, and his ambitions very nearly rewrote early American history.

scholarly journals Are we Going Back to our Roots? The Restoration of Early Church Ecclesiology in the Modern Church Today

2018 ◽  
Vol 44 (1) ◽  
Author(s):  
Jerry Pillay ◽  
Machiel Greyling
Keyword(s):  
19Th Century ◽  
Early Church ◽  
Contemporary Society ◽  
American Frontier ◽  
True Nature ◽  
Restoration Movement ◽  
Early American ◽  
The Bible ◽  
Natural Restoration ◽  
The 19Th Century

A movement, known as the Restoration Movement, developed on the early American frontier (19th century) to unite the various denominations that followed migrants from Europe and to bring them back to the ideals of the early church. The means to fulfil this quest was done through the belief that the early church could be “restored” in the 19th century. It was asserted that if all denominations simply read the Bible only and rejected all human creeds and traditions that came along with the centuries, there would be one church, total unity and an exact replica of the 1st century church. The methodology was correct, but unfortunately the intellectual paradigms of the day led the restoration leaders to formulate a wanting ecclesiology which ended in more schism than unity. This article sets out to establish that when one considers the modern church trends today and the true nature of the early church, there is clear evidence that contemporary ecclesiologies are being shaped more accurately into the shape of the early church. This is happening by default and spontaneously. Postmodernism is the catalyst that is slowly but surely influencing the natural restoration of the early church in contemporary society.

Carl Maria von Weber

Music ◽  
2019 ◽  
Author(s):  
Joseph E. Morgan
Keyword(s):  
Chamber Music ◽  
19Th Century ◽  
Classical Music ◽  
Wolfgang Amadeus Mozart ◽  
Piano Sonatas ◽  
Late 20Th Century ◽  
German Art ◽  
Art And Culture ◽  
Carl Maria Von Weber ◽  
The 19Th Century

With a career that began at the end of the Napoleonic Wars, just as a concept of a unified German identity was emerging, Carl Maria von Weber (b. 1786–d. 1826) earned a great deal of fame writing songs for soldiers and students. Since then, Weber’s three late operas, and specifically his Der Freischütz (1821), have long been recognized as central to a narrative surrounding the emergence of a German operatic style. Indeed, Richard Wagner recognized Weber’s influence in his own writings, and later, the hyper-nationalistic elements of Germany laid great credence to that influence in their conception of a culturally superior German art and culture. However, in the late 20th century, critics started to isolate and study the aspects of Weber’s style that he had borrowed from foreign cultures. One particularly striking example is Weber’s adoption of the traditional formal conventions of the Italian Scena (Basevi’s la solita forma) in the 19th century. Despite Weber’s own overt statements against the Italian style, scholars have noted the clear influence of Italian opera on his works. Similarly, many of the very elements that would be cited as prototypically German in Weber’s works—the systems of thematic reference and motivic organization, the greater role of the orchestra in the texture, and the greater demands placed on the singer in terms of volume—are all increasingly cited as French in origin. Thus, the historical understanding of who Weber was and the character of his nationalist identity remains in flux, and Der Freischütz, Euryanthe, and Oberon retain a place in the operatic repertoire. On the other hand, Weber’s prominence as a musician and composer of symphonies, chamber music, and German Art songs has undergone a different path of study. As an early Romantic composer of piano sonatas, linking the delicate ornamentation of Frédéric Chopin (b. 1810–d. 1849) with the Viennese classicism of Wolfgang Amadeus Mozart (b. 1756–d. 1791), Weber has maintained his position on the edge of the mainstream repertoire in this genre, too. His compositions for clarinet as well as his bassoon and horn concertos also remain important parts of those instruments’ repertoires. Yet perhaps his biggest exposure results from the performance of his operatic overtures on the concert stage. In all, looking at individual genres, Weber’s impact is easy to underestimate, but taken as a whole, as an accomplished composer, pianist, conductor, and writer, his works and career made a tremendous impact on classical music in the 19th century.

Towards a Genealogy and Typology of Governance Through Contract Beyond Privity

2020 ◽  
Vol 16 (1) ◽  
pp. 25-43
Author(s):  
Jaakko Salminen
Keyword(s):  
Supply Chain ◽  
19Th Century ◽  
Mass Production ◽  
Cost Management ◽  
Value Chains ◽  
Economic Sustainability ◽  
The Social ◽  
Social Environmental ◽  
The 19Th Century ◽  
Platform Economy

AbstractContracts are used to extend governance on supply chain and platform actors in ways that could not be envisaged when the foundations of current conceptualizations of contractual privity were laid down in the 19th century. This results in a stark contradiction. Firms use contracts to extend governance on actors beyond privity when it suits their interests, for example for reasons of supply-chain-wide cost-management. At the same time, law offers few means of holding a firm liable for the inadequate governance of social, environmental, cultural, and economic sustainability in its supply chain or platform eco-system. I propose two tools for uncovering the multiple societal tensions that this disjuncture between law and contractual practice entails. The first is a genealogy of how contractual paradigms have contributed to the rise of new forms of production, such as centralized mass production in the 19th century, global value chains in the 20th century, and the platform economy in the 21st century. The second is a multidisciplinary typology of the contractual mechanisms used to extend governance beyond privity. My hope is that these two tools will help us better understand, research, teach, and balance the implications of contractual paradigms on the social, environmental, cultural, and economic sustainability of production.

The Polylingual Tables of Vasily Zhukovsky’s Initial Course of Study in the Context of Children’s Board Games of the F irst Half of the 19th Century

2021 ◽  
pp. 69-85
Author(s):  
Nina L. Panina ◽  
Keyword(s):  
19Th Century ◽  
Information Transfer ◽  
Picture Book ◽  
Visual Learning ◽  
Visual Aids ◽  
Board Games ◽  
The Right ◽  
The 19Th Century ◽  
The Relationship ◽  
Course Of Study

In the early 1850s, Vasily Zhukovsky develops tables with drawings of objects and phenomena and their coded names in four languages. The consistent use of visual didactics in them looks quite innovative against the background of textbooks of the time. The tables are part of the Initial Course of Study, which Zhukovsky was developing in the last years of his life. By that time he had already accumulated considerable experience in teaching Russian as a foreign language on the basis of his own handmade visual aids. Most of the tables are filled with plotlike images, but some also contain symbols, diagrams and maps. The variety of plot and composition solutions in the drawings deserves special attention. This specifically concerns plots, which are independent and developed. The drawings contain details which considerably supplement the basic meaning of the word, they are obviously designed for close examination, comparison and interpretation. The visual emphasis on letters and pictures seems to qualify the manual developed by Zhukovsky as a polylingual picture book, but the usual aims and objectives of an ABC book are here considerably more complicated. The textbook has many more parallels with the board games of that time. It can be seen as an organic continuation of the tradition of “useful” family board games as it displays affinity with them not only at the level of visual and spatial solution, visual and tactile form, but also at the level of mechanisms of interaction of a child with the handbook. It is in the sphere of board games that Zhukovsky finds means to solve the tasks of visual learning set by leading European teachers; such learning would lead a child from sensually perceived concreteness to the formation of concepts. The greatest parallels with Zhukovsky’s tables are found, firstly, in games with ruled cardboard fields. Secondly, word games (charades, rebuses, riddles) clearly influenced the development of the tables. The tables use all the principal advantages of board games in terms of visual learning: bright visual, tactile and spatial landmarks, compact information transfer in the form of diagrams and symbols, informative richness of all game elements, a variety of visual elements. Games on a ruled cardboard field also have plots, though manipulation with the field and chips, acquaintance with drawings and texts in squares on the field in such games always realize a very simple plot. Since for Zhukovsky the main plot a child should be introduced to in the learning process was the universal connection of concepts, the fields of tables, drawings and names extracted by decoding should lead a pupil towards an understanding of the relationship between objects and phenomena of this world. Within the framework of the emblematic tradition, which was still alive in Russian culture in the first half of the 19th century and which Zhukovsky never set out to destroy or overcome, interpretations of combinations of concepts and images presented in his tables had to develop freely, obeying a chain of individual associations of a pupil. At the same time, these associations were guided in the right direction because the structure of the visual series predetermined the child’s actions. The comparison of elements within one cell was followed by the comparison of cells of one column, one row, the table as a whole and the whole complex of tables. In this way, a child progressed towards generalisations; s/he was guided by the logic of the mnemonic construction of the Initial Course of Study that showed the relationship between facts of history, geography, physics, natural history, art history, etc.

scholarly journals Screenwriting: Between Art and Craft

2021 ◽  
Vol 24 (2) ◽  
pp. 1-11
Author(s):  
Patrick Cattrysse
Keyword(s):  
19Th Century ◽  
Technical Approach ◽  
Rule Based ◽  
Art Historians ◽  
Practice Teaching ◽  
Art And Culture ◽  
Rule Based Approach ◽  
Western View ◽  
The 19Th Century

This paper discusses the teaching of screenwriting and storytelling in terms of art and craft. It argues that since Romanticism established itself in the 19th century as the dominant Western view on art and culture, it has driven a wedge between people’s notions of art and craft, promoting the former and demoting the latter. This rift has impeded the teaching of screenwriting and storytelling in general. Following this, art historians and sociologists of art have suggested developing a “third system of art,” one that reintegrates the artist and the artisan, the art and craft-based values. This essay develops the basic tenets of a “technical approach” to the teaching of screenwriting. This technical approach sits in-between a Romantically biased “free-wheeling” approach and a mechanistic, “rule-based” approach. It is argued that a technical approach to screenwriting or storytelling could help materialize such a “third system of art” and benefit the practice, teaching, and study of screenwriting and storytelling.

scholarly journals First in Mass Production

2005 ◽  
Vol 127 (10) ◽  
pp. 48-52
Author(s):  
Robert O. Woods
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Mass Production ◽  
Northern Europe ◽  
Just In Time ◽  
Electrical Impulses ◽  
The 19Th Century

This article focuses on mass production that is generally seen as an achievement of the 20th century based on roots in the 19th century. The developing art of printing was aided by contemporary innovations in technology. The magnifying lens arrived in northern Europe just in time to be useful. Gutenberg’s introduction to printing via religion probably led to his decision to go on to produce a Bible. The proceeds from the famous Bible printing, which was done in 1456, went only to his collaborators after he was forced to cede his business to them. Today, the idea of pressing inked metal into paper is quaint. Fonts are made of electrical impulses. But the legacy of the Renaissance printers remains with us.

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