scholarly journals Women’s Hairstyles and Head Ornamentation of the Yakuts in the 18th century

2021 ◽  
pp. 183-189
Author(s):  
A.N. Prokopeva
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Social Roles ◽  
Eastern Siberia ◽  
Museum Collections ◽  
The 19Th Century ◽  
Archaeological Excavations

Mass Christianization of the peoples of Yakutia (Eastern Siberia) at the end of the 18th century led to the development of a demotic Christianity throughout the 19th century. There were new rules, according to which a woman was not permitted to appear in public with her head uncovered, and therefore the marking function of the hairstyles became obsolete. This could explain the absence of rituals and rules associated with women’s hair and hairstyles in the Yakut culture of the 19th–20th centuries. The aim of this study is to prove a hypothesis, according to which pendants of hair ornamentation duplicate braids, and studying the pendants of the headrest ‘nachel’nik’ allows recreation of women’s hairstyle that had been in use before the period of mass Christianization. The article is based on the analysis of written, material, and visual sources of the 18th–19th centuries. Information about the hairstyles and adornments of the Yakuts is contained within the records of travelers of the 18th–19th centuries. Among the ethnographic works on the peoples of Siberia, one can find drawings depicting maidens and women, where particular attention is given to their hair. These materials were correlated with the data of the archaeological excavations of Yakut female burials of the 18th century. The obtained results were compared with the materials from the 19th century — photographs of women in national costumes and jewelry from museum collections. According to the results of the study, it can be stated that there was a tradition of changing maiden’s hairstyle to woman’s hairstyle in the context of the wedding ritualism. New rules of conduct, social roles, especially regulations on the appearance of women, were formalized in the society in the 19th century with the mass Christianization of the peoples of Yakutia. There were new rules, according to which a woman was not permitted to appear in public with her head uncovered, and therefore the marking function of hairstyles became obsolete. This could explain the absence of rituals and rules associated with women’s hair and hairstyles in the Yakut culture of the 19th–20th centuries.

scholarly journals Contribution of Russian zoologists to the collecting and first descriptions of the World avian fauna

2018 ◽  
Vol 322 (2) ◽  
pp. 144-159 ◽  
Author(s):  
V.A. Payevsky
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Molecular Genetic ◽  
Museum Collections ◽  
Genetic Studies ◽  
Geographical Society ◽  
The World ◽  
Academy Of Sciences ◽  
The 19Th Century ◽  
First Descriptions

A brief overview is given of the formation of museum collections of birds in Russia, collected as a result of academic expeditions around the world and across Russia. The imperishable value of zoological collections, concentrated in zoological museums and institutes, is underlined. The results of expeditions are described in chronology, beginning with 18th century (they were conducted under the auspices of the Russian Academy of Sciences and the Imperial Russian Geographical Society): the First Siberian expedition (D.G. Messershmidt), the First Kamchatka and the Great Northern expeditions (V.I. Bering, А.I. Chirikov, G.F. Müller, G.V. Stöller, I.G. Gmelin, S.P. Krasheninnikov), Great academic expeditions across Russia (P.S. Pallas, S.G. Gmelin, I.A. Güldenstädt, I.I. Lepyokhin, I.P. Falk, I.G. Georgi), round-the-world sea expeditions (I.F. Kruzenshtern and Yu.F. Lisyansky, F.F. Bellingshausen and M.P. Lazarev, F.G. Kittlitz and A.K. Mertens), as well as expeditions to Brazil (G. I. Langsdorf and E.P. Menetries) and expedition of I.G. Voznesensky in Russian America, the Commanders and Kamchatka. Reference is made to the importance of zoological expeditions of K.F. von Baer, A.F. Middendorf, G.I. Radde, N.A. Severtsov, M.N. Bogdanov, G.E. and M.E. Grumm-Grzhimailo. Particular attention is paid to the great Asian campaigns to Central Asia in the late XIX – early XX century of NM. Przevalsky, V.I. Roborovsky, P.K. Kozlov, G.N. Potanin, M.V. Pevtsov, B.L. Grombchevsky, M.A. Pyltsov and N.A. Zarudny. The contribution of the ornithologists of Russia M.N.Bogdanov, M.M. Berezovsky, M.A. Menzbir, V.L. Bianchi, F.D. Pleske, V.I. Dybowski, V.A. Godlewski, M.I. Jankowski, V.K. Taczanowski, P.P. Sushkin and S.A. Buturlin to the bird systematics at the end of the 19th century and the beginning of XX century is described. In conclusion, it is said about the unique value of zoological collections for the study of taxonomy and phylogeny, including on the basis of molecular genetic studies.

Speculations on the Nature and Pattern of Opium Smoking

1979 ◽  
Vol 9 (2) ◽  
pp. 247-255 ◽  
Author(s):  
John C. Kramer
Keyword(s):  
Drug Use ◽  
Southeast Asia ◽  
19Th Century ◽  
18Th Century ◽  
The 19Th Century ◽  
Withdrawal Signs

Opium smoking began spreading slowly but steadily in China from early in the 18th Century. It grew through the 19th Century to the point that by the end of the century it became a nearly universal practice among males in some regions. While estimates vary, it appears that most smokers consumed six grams or less daily. Addicted smokers were occasionally found among those smoking as little as three grams daily, but more often addicted smokers reported use of about 12 grams a day or more. An individual smoking twelve grams of opium probably ingests about 80 mg. of morphine. Thirty mg. of morphine daily may induce some withdrawal signs, while 60 mg. daily are clearly addicting. While testimony varied widely, it appears likely that most opium smokers were not disabled by their practice. This appears to be the case today, too, among those peoples in southeast Asia who have continued to smoke opium. There appear to be social and perhaps psychophysiological forces which work toward limiting the liabilities of drug use.

Scholars discover local history: the case of northeast Lapland in the 18th century

Polar Record ◽  
2011 ◽  
Vol 48 (3) ◽  
pp. 291-303 ◽  
Author(s):  
Maria Lähteenmäki
Keyword(s):  
19Th Century ◽  
Economic Efficiency ◽  
18Th Century ◽  
Local Information ◽  
Local History ◽  
Ordinary People ◽  
The People ◽  
New Form ◽  
The 19Th Century ◽  
Distant Region

ABSTRACTThe academic study of local and regional history in Sweden took on a quite new form and significance in the 18th century. Humiliating defeats in wars had brought the kingdom's period of greatness to an end and forced the crown to re-evaluate the country's position and image and reconsider the internal questions of economic efficiency and settlement. One aspect in this was more effective economic and political control over the peripheral parts of the realm, which meant that also the distant region of Kemi Lapland, bordering on Russia, became an object of systematic government interest. The practical local documentation of this area took the form of dissertations prepared by students native to the area under the supervision of well known professors, reports sent back by local ministers and newspaper articles. The people responsible for communicating this information may be said to have functioned as ‘mimic men’ in the terminology of H.K. Bhabha. This supervised gathering and publication of local information created the foundation for the nationalist ideology and interest in ordinary people and local cultures that emerged at the end of the century and flourished during the 19th century.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

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.

The ‘Genius of language’

2004 ◽  
Vol 31 (2-3) ◽  
pp. 367-388 ◽  
Author(s):  
Christiane Schlaps
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Wide Range ◽  
Dynamic Form ◽  
Text Types ◽  
Scientific Value ◽  
The 19Th Century ◽  
Static Concept ◽  
Interior Part

Summary The so-called ‘genius of language’ may be regarded as one of the most influential, and versatile, metalinguistic metaphors used to describe vernacular languages from the 17th century onwards. Over the centuries, philosophers, grammarians, trans­lators and language critics etc. wrote of the ‘genius of language’ in a wide range of text types and with reference to various linguistic positions so that a set of rather diverse types of the concept was created. This paper traces three prominent stages in the development of the ‘genius of language’ argument and, by identifying some of the most frequent types as they evolved in the context of the various linguistic dis­courses, endeavours to show the major transformations of the concept. While early on, discussion of the stylistic and grammatical type of the ‘genius of language’ concentrates on surface features in the languages considered, during the middle of the 18th century, the ‘genius of language’ is relocated to the semantic, interior part of language. With the 19th-century notion of an organological ‘genius of language’, the former static concept is personified and recast in a dynamic form until, taken to its nationalistic extremes, the ‘genius of language’ argument finally ceases to be of any epistemological and scientific value.

scholarly journals NEW SPIRITUAL LITERATURE OF THE END OF 18TH CENTURY - BEGINNING OF THE 19TH CENTURY (TO THE PROBLEM OF SEARCHING FOR UNKNOWN MANUSCRIPTS)

2019 ◽  
Vol 29 (5) ◽  
pp. 783-787
Author(s):  
K.Yu. Anders-Namzhilova
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Information Source ◽  
Russian Empire ◽  
Scientific Society ◽  
The Russian Empire ◽  
The 19Th Century

The article describes the problem of searching for unknown manuscripts in the study of new spiritual literature that occurred in the Russian Empire at the turn of 18th century. The documents of Moscow Ecclesiastical Censor’s Archive are the main information source of church and religious materials written during that period. The Moscow Ecclesiastical Censor was the first specialized authority established by Synod in 1799 for considering the religious compositions. Compositions which were banned by censors couldn’t be printed and for this reason they become unknown even for modern scientific society. However, a lot of these compositions weren’t lost: they are kept in manuscripts which are dispersed throughout different archive and library funds, that’s why they cannot be attributed without the engagement of the censor committee’s archive documents.

scholarly journals Wesley in Oxford and the Legend of Holy Grail’s Knight: The Study about the Root of Methodism to the World, and the Foundation of Kwansei-Gakuin in Japan

2017 ◽  
Vol 6 (1) ◽  
pp. 9-16
Author(s):  
Kawanishi Takao
Keyword(s):  
Roman Empire ◽  
19Th Century ◽  
18Th Century ◽  
Round Table ◽  
King Arthur ◽  
Spiritual Power ◽  
The World ◽  
Methodist Episcopal Church ◽  
New States ◽  
The 19Th Century

Abstract John Wesley (1703-91）is known as the founder of Methodism in his time of Oxford University’s Scholar. However, about his Methodical religious theory, he got more spiritual and important influence from other continents not only Oxford in Great Britain but also Europe and America. Through Wesley’s experience and awakening in those continents, Methodism became the new religion with Revival by the spiritual power of “Holy Grail”. By this research using Multidisciplinary approach about the study of Legend of Holy Grail’s Knight, - from King Arthur and Knights of the Round Table in the Medieval Period, and in 18th century Wesley, who went to America in the way on ship where he met the Moravian Church group also called Herrnhut having root of Pietisms, got important impression in his life. After this awakening, he went to meet Herrnhut supervisor Zinzendorf (1700-60) in Germany who had root of a noble house in the Holy Roman Empire, - and to Legend of Holy Grail’s Knight Opera “Parsifal” by Richard Wagner at Bayreuth near Herrnhut’s land in the 19th century, Wesley’s Methodism is able to reach new states with the legend, such as the historical meaning of Christianity not only Protestantism but also Catholicism. I wish to point out Wesley’s Methodism has very close to Legend of Holy Grail’s Knight. In addition, after the circulation in America, in the late 19th century Methodism spread toward Africa, and Asian Continents. Especially in Japan, by Methodist Episcopal Church South, Methodism landed in the Kansai-area such international port city Kobe. Methodist missionary Walter Russel Lambuth (1854-1921) who entered into Japan founded English schools to do his missionary works. Afterward, one of them became Kwansei-Gakuin University in Kobe. Moreover, Lambuth such as Parsifal with Wesley’s theories went around the world to spread Methodism with the Spirit’s the Legend of Holy Grail’s Knight as World Citizen.

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

scholarly journals Considerations to some forms of the verb a fi: sum and sunt

Diacronia ◽  
2018 ◽  
Author(s):  
Gheorghe Chivu
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
History Of ◽  
Literary Writing ◽  
The 19Th Century

The history of the verbal forms sum and sunt, introduced into the literary writing by the Transylvanian Latinist School, reveals a winding process in the elaboration of certain cultured norms proper to the modern literary Romanian. Not at all linear, this process was concurrently influenced by two, often divergent, tendencies that were active from the end of the 18th century up to the beginning of the 20th century: the use of some cultured forms, borrowed from Latin or created according to Latin patterns; and the revitalization of certain linguistic forms with regional diffusion. Initially proposed as literary pronunciations, the two verbal forms were soon adopted and used as etymological graphic forms that corresponded to sîm and suntu from certain conservative patois. During the second half of the 19th century (sum), and during the first decades of the 20th century (sunt), the two graphic forms became orthoepic norms as well, due to the phonological tradition of the Romanian writing.

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