scholarly journals The National Sericultural Utopia and Debates on the Acclimatization of Plants in New-born Belgium (1830–1865)

2021 ◽  
Vol 15 (1) ◽  
pp. 71-106
Author(s):  
Denis Diagre-Vanderpelen
Keyword(s):  
Nineteenth Century ◽  
Exotic Species ◽  
International Congress ◽  
New Born ◽  
French Enlightenment ◽  
History Of

Abstract This two-folded contribution firstly addresses the little-known history of an agricultural utopia that took over the newly born Belgium. The history of the Belgian sericultural utopia is not anecdotal, however, it was based on the conviction that it was possible to acclimatize exotic species. This conviction has a long history that is depicted in the second part of this research. The permanence in time of this hope is explained by various factors: famous supporters, a lexical fog, experiments considered successful, routines, agricultural crisis, etc. They kept alive the dream of acclimatization carried out by the French Enlightenment, but not only. Yet, in the first decades of the nineteenth century, the zealots of the famous André Thouin confronted those—early phytogeographers, or not—who rejected acclimatization more often. It might even be that biological nationalism militated against acclimatization, as showed the International Congress of Horticulture in Brussels (1864), which constitutes the chronological milestone of this research.

Nazi Berlin and the Grosses Schauspielhaus

1993 ◽  
Vol 34 (1) ◽  
pp. 71-90
Author(s):  
Yvonne Shafer
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Third Reich ◽  
German Society ◽  
International Congress ◽  
The Third ◽  
History Of ◽  
The Third Reich ◽  
Spree River ◽  
Growing Population

The Grosses Schauspielhaus in Berlin was a theatrical showplace in several incarnations. The building itself was initially a great market situated near the Spree River in the center of Berlin. In the latter part of the nineteenth century it was converted to an enormous circus which drew crowds to see outstanding exhibitions of horsemanship and other circus acts. It also served as a great meeting hall for such events as Robert Koch's international congress dealing with tuberculosis in 1890. The large amphitheatre in the huge building was a symbol of the growing population of Berlin and its increasing prosperity. The history of the various uses to which the theatre was put in the twentieth century is an important reflection of the changes in German society in this period. During the time of the Third Reich it was an important element in culture and propaganda under the direction of Dr. Joseph Goebbels. This paper will analyze the unusual architecture of the theatre and the productions of several plays which were important during the Third Reich.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

George Hoggart Toulmin: politics and geology

1978 ◽  
Vol 8 (4) ◽  
pp. 481-481
Author(s):  
ROY PORTER
Keyword(s):  
French Revolution ◽  
Social Order ◽  
Lower Class ◽  
Great Distance ◽  
The Earth ◽  
Christian View ◽  
The Social ◽  
French Enlightenment ◽  
Political Conservatism ◽  
History Of

The physician George Hoggart Toulmin (1754–1817) propounded his theory of the Earth in a number of works beginning with The antiquity and duration of the world (1780) and ending with his The eternity of the universe (1789). It bore many resemblances to James Hutton's "Theory of the Earth" (1788) in stressing the uniformity of Nature, the gradual destruction and recreation of the continents and the unfathomable age of the Earth. In Toulmin's view, the progress of the proper theory of the Earth and of political advancement were inseparable from each other. For he analysed the commonly accepted geological ideas of his day (which postulated that the Earth had been created at no great distance of time by God; that God had intervened in Earth history on occasions like the Deluge to punish man; and that all Nature had been fabricated by God to serve man) and argued they were symptomatic of a society trapped in ignorance and superstition, and held down by priestcraft and political tyranny. In this respect he shared the outlook of the more radical figures of the French Enlightenment such as Helvétius and the Baron d'Holbach. He believed that the advance of freedom and knowledge would bring about improved understanding of the history and nature of the Earth, as a consequence of which Man would better understand the terms of his own existence, and learn to live in peace, harmony and civilization. Yet Toulmin's hopes were tempered by his naturalistic view of the history of the Earth and of Man. For Time destroyed everything — continents and civilizations. The fundamental law of things was cyclicality not progress. This latent political conservatism and pessimism became explicit in Toulmin's volume of verse, Illustration of affection, published posthumously in 1819. In those poems he signalled his disapproval of the French Revolution and of Napoleonic imperialism. He now argued that all was for the best in the social order, and he abandoned his own earlier atheistic religious radicalism, now subscribing to a more Christian view of God. Toulmin's earlier geological views had run into considerable opposition from orthodox religious elements. They were largely ignored by the geological community in late eighteenth and early nineteenth century Britain, but were revived and reprinted by lower class radicals such as Richard Carlile. This paper is to be published in the American journal, The Journal for the History of Ideas in 1978 (in press).

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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