scholarly journals The Network of Financial Institutions and Capital Accumulation in Vas County in the Second Half of the 19th Century

2021 ◽  
pp. 61-71
Author(s):  
Imre Halász ◽  
Keyword(s):  
19Th Century ◽  
Financial Institutions ◽  
Capital Accumulation ◽  
Western Europe ◽  
Turn Of The Century ◽  
Money Markets ◽  
Savings Banks ◽  
Company Limited ◽  
The One ◽  
The 19Th Century

The way financial institutions emerged in Hungary was just the inverse of the one followed in Western Europe. In Western Europe capital intensive banks developed first and savings banks rendering services to people with more modest financial means appeared later. In the second half of the 19th century a new bank type (Credit mobilier) was created, which combined the commercial and development banking activities. In Hungary the first financial institution got established in 1842 as a company limited by shares, and the banks founded subsequent to 1867 fashioned their business policies in this vein. In Vas county, situated in West-Transdanubia, and in its county- seat, Szombathely, capital accumulation strengthened by leaps and bounds after a difficult start and the emergence of financial institutions was largely supported by the enactment of the Commercial Code in 1875. In the first business year following the crisis of 1873 already 16 banks and savings banks operated in Vas county, with the number of financial institutions reaching 27 by the turn of the century. Between 1874 and 1899 their number increased to almost two and a half times this figure, and in settlements with populations between one thousand and three thousand people two, in larger settlements three, and in the county seat five new financial institutions had been founded by the turn of the century. The increase in the initial capital saw a nearly eleven times increase, the balance sheet total expanded 6.3 times and the total cash turnover of Vas county financial institutions amounted to 178,414,263 Austro-Hungarian Krones in 1899. Within the county’s territory microregional money markets evolved. No data have so far been found regarding the turnover undoubtedly realised between such microregions for the time being.

scholarly journals Changes in the Financial System of Vas County at the Beginning of the 20th Century

2022 ◽  
pp. 97-111
Author(s):  
Imre Halász
Keyword(s):  
World War I ◽  
Financial Institutions ◽  
Financial Services ◽  
Balance Sheet ◽  
Turn Of The Century ◽  
Financial Indicators ◽  
Capitalist Development ◽  
Money Markets ◽  
Savings Banks ◽  
The World

The purpose of the study. To showcase the growth of the region’s savings banks network during the period of Hungary’s capitalist development between the turn of the century and the World War I. Applied methods. Primarily data published in the financial almanac ‘Magyar Compass’ and newspaper articles of the time were sourced for the purposes of the study. Of financial indicators, balance sheet total and aggregate cash turnover figures were used. The study presents the accessible data of all the savings banks in operation at the time. Outcomes. By the end of 1912, various types of financial services had already been available in 28 Vas County settlements with 53 savings banks operating in the county. Their number was augmented by five branches and two affiliates. The savings banks furthermore established 17 disbursement points. This network of financial institutions was complemented by the Austro-Hungarian Bank (Osztrák-Magyar Bank, OMB) and two discount houses operating in Szombathely. The market district of Szombathely covered the whole county. While several larger microregional money markets were created, significant amounts were repatriated by Hungarians emigrating to America. Amidst all these changes, two banks’ bankruptcies made it known nationwide that the development of the local financial network was not without its failures.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

De windmolen

2020 ◽  
Vol 5 (1) ◽  
pp. 17-32
Author(s):  
JOS BAZELMANS
Keyword(s):  
The Netherlands ◽  
19Th Century ◽  
Turn Of The Century ◽  
The 19Th Century ◽  
First Time ◽  
At Home

The windmill. The origins of a Dutch icon The windmill is an icon of the Netherlands. But when did this instrument acquire this symbolic role at home and abroad? After all, mills are also common outside of the Netherlands. In this essay, it is argued that during the second half of the 19th century, foreigners systematically identified the Netherlands and the windmill for the first time. More than in other countries, there was a varied use of mills in the Netherlands, large and robust mills and clusters of industrial mills. Within the Netherlands itself, development towards an iconic position is only visible around the turn of the century when the mill turned out to be a plus in tourist recruitment abroad and when mills were slowly disappearing from the landscape.

scholarly journals Kant, Nietzsche and the idealization of friendship into nihilism

2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren
Keyword(s):  
19Th Century ◽  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Articles Of Faith ◽  
The 19Th Century

Is friendship still possible under nihilistic conditions? Kant and Nietzsche are important stages in the history of the idealization of friendship, which leads inevitably to the problem of nihilism. Nietzsche himself claims on the one hand that only something like friendship can save us in our nihilistic condition, but on the other hand that precisely friendship has been unmasked and become impossible by these very conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well to Nietzsche's claim that only "the most moderate, those who do not require any extreme articles of faith" will be able to cope with nihilism.

Between Myth and Reality: Approaches to Ibn Khaldun in the Arab World

2008 ◽  
Vol 36 (3-4) ◽  
pp. 590-611 ◽  
Author(s):  
Cengiz Tomar
Keyword(s):  
19Th Century ◽  
Arab World ◽  
Ibn Khaldun ◽  
Arab Culture ◽  
The One ◽  
The 19Th Century

AbstractIbn Khaldun is one of most discussed social philosophers in the modern Arab World. The most important reasons for this are that he lived in a time of crisis that resembles the one that Muslims find themselves in at the present time, that his thoughts have found approval from Western scientists, and that they possess modern characteristics. It is for these reasons that the thought of Ibn Khaldun, from the 19th century onwards, have given rise to a wide variety of interpretations, including pan-Islamism, nationalism, socialism and other ideologies that have found interest in the Arab world. In this article, after examining the heritage of thought bequeathed by Ibn Khaldun to Arab culture, starting from the time in which he lived, we will try to evaluate interpretations of the Muqaddimah in the modern Arab world.

scholarly journals PEMIKIRAN JAMALUDDIN AL-AFGHANI (JAMAL AD-DIN AL-AFGHANI) (1838 – 1897 M)

2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
The West ◽  
Unique Position ◽  
Islamic Reform ◽  
Other Hand ◽  
The People ◽  
The One ◽  
The 19Th Century

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 

scholarly journals ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY

2021 ◽  
pp. 142-163
Author(s):  
ARKADII MAN'KOVSKII
Keyword(s):  
19Th Century ◽  
Religious Tradition ◽  
The Other ◽  
Literary Critic ◽  
Historical Events ◽  
Romantic Drama ◽  
The One ◽  
Historical Fantasy ◽  
The 19Th Century ◽  
The Way

The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.

scholarly journals Opisy interiekcji w wybranych XIX-wiecznych słownikach języka polskiego

LingVaria ◽  
2021 ◽  
Vol 31 (1) ◽  
pp. 11-24
Author(s):  
Marek Kaszewski
Keyword(s):  
19Th Century ◽  
The Other ◽  
Functional Variants ◽  
Wide Range ◽  
The One ◽  
The 19Th Century ◽  
Linguistic Units

Descriptions of Interjections in Selected Polish Dictionaries from 19th Century The author of the text analyses interjections present in three Polish dictionaries from the 19th century: the dictionaries by S.B. Linde, J.S. Bandtkie and A. Osiński, which are a part of a larger linguistic collection created in order to study and describe historical Polish interjections. The article takes into account the internal diversity of the historical class of interjections in the light of the lexicographers’ attempts to describe such units. Our attention is drawn to the lack of graphical normalization of interjections in the dictionaries, as well as the inconsistency of their marking and definition on the one hand, and the wide range of functional variants on the other. Differences in the manner of presentation of interjections in these dictionaries are also taken into account. Moreover, the author emphasizes the fact that they include a large number of animal-related (hunting) interjections. The study of the dictionary materials confirmed that their authors did not work out a method of a lexicographical description of these linguistic units.

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