The construction of an Italian diasporic identity in the city of Buenos Aires at the turn of the 19th century

2019 ◽  
pp. 167-190
Author(s):  
Lucas Andrés Masán

En estas páginas efectuamos una primera aproximación sobre los eventos aerostáticos en Buenos Aires durante la primera mitad del siglo XIX. Entendidos como espectáculos públicos inscriptos en un espacio urbano en reconfiguración, es posible advertir en la paulatina incorporación de lo aéreo cierta vocación social por interpelar a los habitantes de la ciudad. Para dar cuenta de este derrotero examinamos desde las germinales inscripciones de las montgolfieras en el imaginario local en la década de 1820 hasta la primera experiencia de globo tripulado efectuada por Bartolomé Lartet en 1856. Observamos la trayectoria de estas exhibiciones como instancias que condensan expresiones y deseos comunitarios entre los cuales es posible entrever preocupaciones de carácter social y político. En este camino los sentidos asociados al globo aerostático nos permiten ver una latente incorporación del ideario moderno basado en la novedad, la valoración de acciones temerarias y una nueva estimulación sensorial del habitante. In these pages we make a first approximation of the aerostatic events in Buenos Aires during the first half of the 19th century. Understood as public performances inscribed in an urban space undergoing reconfiguration, it is possible to notice in the gradual incorporation of the air a social vocation for questioning the inhabitants of the city. To account for this course we examine from the germinal inscriptions of the montgolfieras in the local imagination in the 1820s to the first manned balloon experience carried out by Bartolomé Lartet in 1856. We observe the trajectory of these exhibitions as instances that condense expressions and wishes community among which it is possible to glimpse social and political concerns. In this way, the senses associated with the hot air balloon allow us to see a latent incorporation of modern ideology based on novelty, the valuation of reckless actions and a new sensory stimulation of the inhabitant.


Author(s):  
Giulia Murace

In Argentina, by the end of the 19th century and the beginning of the 20th, several opera houses appeared, in both large cities and small urban centers. One example is the Teatro Muncipal in San Nicolás de los Arroyos, inaugurated on August 10, 1908. This paper analyzes the historical-artistic aspects of the theater and the imaginary it contributed to build in a provincial city at the beginnings of 1900. Some peculiarities of this theatre lead us to highlight alternative routes of artistic circulation, where Buenos Aires is not always the center and where local intermediaries have had preeminence; since a greater dialogue with the city of Rosario than with the nation’s capital was established.


2019 ◽  
Vol 9 (4) ◽  
pp. 193-198
Author(s):  
Lyudmila S. Timofeeva ◽  
Albina R. Akhmetova ◽  
Liliya R. Galimzyanova ◽  
Roman R. Nizaev ◽  
Svetlana E. Nikitina

Abstract The article studies the existence experience of historical cities as centers of tourism development as in the case of Elabuga. The city of Elabuga is among the historical cities of Russia. The major role in the development of the city as a tourist center is played by the Elabuga State Historical-Architectural and Art Museum-Reserve. The object of the research in the article is Elabuga as a medium-size historical city. The subject of the research is the activity of the museum-reserve which contributes to the preservation and development of the historical look of Elabuga and increases its attractiveness to tourists. The tourism attractiveness of Elabuga is obtained primarily through the presence of the perfectly preserved historical center of the city with the blocks of integral buildings of the 19th century. The Elabuga State Historical-Architectural and Art Museum-Reserve, which emerged in 1989, is currently an object of historical and cultural heritage of federal importance. Museum-reserves with their significant territories and rich historical, cultural and natural heritage have unique resources for the implementation of large partnership projects. Such projects are not only aimed at attracting a wide range of tourists, but also stimulate interest in the reserve from the business elite, municipal and regional authorities. The most famous example is the Spasskaya Fair which revived in 2008 in Elabuga. It was held in the city since the second half of the 19th century, and was widely known throughout Russia. The process of the revival and successful development of the fair can be viewed as the creation of a special tourist event contributing to the formation of new and currently important tourism products.


2020 ◽  
Vol 2020 (12-3) ◽  
pp. 250-258
Author(s):  
Mahomed Gasanov ◽  
Abidat Gazieva

The article is devoted to the analysis of the historiography of the history of the city of Kizlyar. This issue is considered in the historical context of the Eastern Caucasus. The author analyzes the three main theoretical concepts of the problem concerning Russia’s policy in the region, using the example of the city of Kizlyar in the context of historiography.


2013 ◽  
Vol 71 (2) ◽  
pp. 125-126 ◽  
Author(s):  
Antonio E. Nardi ◽  
Adriana Cardoso Silva ◽  
Jaime E. Hallak ◽  
José A. Crippa

Until the beginning of the 19th century, psychiatric patients did not receive specialized treatment. The problem that was posed by the presence of psychiatric patients in the Santas Casas de Misericórdia and the social pressure from this issue culminated in a Decree of the Brazilian Emperor, D. Pedro II, on July 18, 1841. The “Lunatic Palace” was the first institution in Latin America exclusively designed for mental patients. It was built between 1842 and 1852 and is an example of neoclassical architecture in Brazil, located at Saudade Beach in the city of Rio de Janeiro. In the 1930s and 1940s, the D. Pedro II Hospital was overcrowded, and patients were gradually transferred to other hospitals. By September of 1944, all the patients had been transferred and the hospital was deactivated. Key words: psychiatry, history, madness.


2009 ◽  
Vol 41 (4) ◽  
pp. 555-575 ◽  
Author(s):  
Saïd Amir Arjomand

One of the oldest extant documents in Islamic history records a set of deeds executed by Muhammad after his migration (hijra) in 622 from Mecca to Yathrib, subsequently known as “the City [madīna] of the Prophet.” Marking the beginning of the Islamic era, the document comprising the deeds has been the subject of well over a century of modern scholarship and is commonly called the “Constitution of Medina”—with some justification, although the first modern scholar who studied it at the end of the 19th century, Julius Wellhausen, more accurately described it as the “municipal charter” (Gemeindeordnung) of Medina. In 1889, Wellhausen highlighted the text's antiquity, which has been acknowledged by even the most skeptical of contemporary “source-critical” scholars, Patricia Crone, who thinks that, in Ibn Ishaq's Sira, “it sticks out like a piece of solid rock in an accumulation of rubble.”


2014 ◽  
Vol 6 (1) ◽  
pp. 28
Author(s):  
Piet Defraeye

Sven Augustijnen is a Belgian film maker and visual artist. In 2012 he contributed a piece called AWB 082-3317 7922 to the Track exhibition in the city of Gent (Belgium). Track invited artists to provide art installations that were site-specific, and engaged with local narratives, history, and situations. Augustijnen had an old bike chain-locked against a park tree, with a bunch of charcoal on its baggage rack; it stood in the vicinity of the so-called “Moorken” monument, a memorial for the heroic adventures of the brothers Van de Velde in Congo Free State, erected in Gent’s prominent Citadelpark at the end of the 19th century. The idea of AWB 082-3317 7922 came about during the shooting of his film Spectres (2011), in which Augustijnen goes in search for the location of Patrice Lumumba’s assassination in Katanga, Congo, in January 1961. While the theme of the bike installation is the (only partially resolved) murder of Patrice Lumumba, first Prime Minister of the newly independent Congo, the piece spawns a spatial and historical cartography of events and developments within the park landscape as well as the greater urban, and global scope. It is the kind of street art that needs its environment for any chance of meaning, which derive from the contiguities it allows and creates.


1990 ◽  
Vol 36 ◽  
pp. 379-418 ◽  

Juda Hirsch Quastel, who contributed for more than 60 years to the growth of biochemistry, was born in Sheffield, in a room over his father’s rented sweet shop on the Ecclesall Road. The date was 2 October 1899, and his parents, Jonas and Flora (Itcovitz) Quastel, had lived in England for only a few years. They had emigrated separately from the city of Tamopol in eastern Galicia, which was then within the Austro-Hungarian Empire; it has since, after a period under Polish rule, become part of the Ukrainian Republic of the Soviet Union. Tamopol at the end of the 19th century was a city of some 30 000 and the centre of an agricultural district. Its inhabitants were ethnically mixed, but about half of them were Jews, many of whom under the relatively benevolent Austrian regime were fairly prosperous. Quastel used to recall how his father and grandfather had held the Emperor Franz Joseph in great respect. His grandfather, also Juda Hirsch (married to Yetta Rappoport), had at one time worked as a chemist in a brewery laboratory in Tamopol. The parents of the subject of this biography had been in commerce there, and were not poor; but today’s family members know little about the life of Jonas and Flora in Tamopol, or about the reasons that persuaded them, like many of their neighbours, to emigrate to the West. An uncle had already gone to England, and perhaps had encouraged them to follow because of the greater opportunities. In England they lived at first in London’s east end, where they worked in garment factories; but their move to Sheffield, and to Jonas’s modest entrepreneurship, had been completed in the late 1890s. It was there that Juda Hirsch and his four younger siblings (Charles, Doris, Hetty and Anne) were born.


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