Couleurs à la mode. Impressionism as an Effect of the Chemical Industry

2015 ◽  
Vol 6 (1) ◽  
pp. 159-184
Author(s):  
Wolf Kittler
Keyword(s):  
Nineteenth Century ◽  
Direct Effect ◽  
Chemical Industry ◽  
Synthetic Dyes ◽  
Modern City ◽  
Fashion Magazines ◽  
Realist Novels

"Die Erfindung von Anilin und anderen synthetischen Farbstoffen in der zweiten Hälfte des neunzehnten Jahrhunderts ist der Beginn einer neuen Epoche. Die von der noch jungen chemischen Industrie produzierten neuen Farben sind nicht nur leuchtender als die meisten der traditionellen Farbstoffe, sondern auch viel billiger. Sie verändern das Aussehen von Frauen auf den Straßen der modernen Stadt. Unter den ersten Medien, die diese Revolution bemerken und dokumentieren, sind Modezeitschriften, realistische Romane und impressionistische Gemälde. Der Beitrag zeigt, dass die strahlenden Farben der neuen Palette der impressionistischen Maler ein direkter Effekt der chemischen Industrie sind. </br></br>The invention of aniline and other synthetic dyes in the second half of the nineteenth century is the beginning of a new epoch. The new colors produced by the fledgling chemical industry are not only brighter than most of the traditional dyestuffs, but also much cheaper. They change the appearance of women on the streets of the modern city. Among the first media to notice and document this revolution are fashion magazines, realist novels, and Impressionist paintings. I argue that the bright colors on the new palette of Impressionist painters are a direct effect of the chemical industry. "

The Lighting Design of Hardy's Novels

2009 ◽  
Vol 64 (1) ◽  
pp. 48-75
Author(s):  
Ruth Bernard Yeazell
Keyword(s):  
Nineteenth Century ◽  
George Eliot ◽  
Lighting Design ◽  
Realist Novels ◽  
Sensation Novel ◽  
The City ◽  
Jude The Obscure

This essay argues that the phenomenology of light in Thomas Hardy's novels affords a key to his representation of subjectivity. The lighting of most scenes in nineteenth-century fiction is never specified. But from the spectacular lighting effects of Hardy's early sensation novel, Desperate Remedies (1871), to the futile quest for the "City of Light" in Jude the Obscure (1895) and the burned-out pyrotechnics of his last narrative, The Well-Beloved (1897), the light of Hardy's fiction is marked in a double sense——both described in detail and registered as exceptional. Rather than a figure for enlightenment, as in the realist novels of George Eliot and others, Hardy's light is the medium of subjectivity, and it characteristically occludes and distorts as much as it illuminates. Like the painter J.M.W. Turner, whose art the novelist excitedly recognized as an analogue of his own, Hardy represents light not as an absence to be looked through but as something to be looked at and closely observed in all its varieties.

Mechanical Engineering in the Chemical Industry

1949 ◽  
Vol 160 (1) ◽  
pp. 279-289 ◽  
Author(s):  
F. H. Bramwell
Keyword(s):  
Nineteenth Century ◽  
Chemical Industry ◽  
Mechanical Engineering ◽  
Early Years ◽  
Engineering Technique ◽  
Wide Range ◽  
Modern Methods ◽  
Prime Movers

The author reviews briefly the close connexion of an important section of the chemical industry with the Liverpool and the Merseyside areas, from the early years of the nineteenth century, and then discusses the changes that have taken place in these industries due largely to the development of engineering technique and materials of construction. Owing to the wide range of products and processes covered by the chemical industry, the paper has been limited in scope to those branches of the heavy chemical industry that are established and flourishing on Merseyside. Modern methods of performing various operations are compared with methods used in the early days of the industry, the comparison being illustrated by photographs. Prime movers, pumps, packages, materials of construction, instrumentation, and workshop facilities are then considered, and finally emphasis is placed on the scope and opportunities that exist in the industry for mechanical engineers.

Religious Thought and Experience in the Prison Camps

2020 ◽  
pp. 579-591
Author(s):  
Andrea Gullotta
Keyword(s):  
Nineteenth Century ◽  
Direct Effect ◽  
The State ◽  
Soviet Regime ◽  
Religious Thought ◽  
Secondary Sources ◽  
Or Groups ◽  
The Social ◽  
Prison Camp ◽  
Russian Religious Thought

The development of religious thought has often been marked by discord and conflicts between religions (and/or individual religious thinkers) and the State, which at times led to the repression of individuals and or groups of people united by the same confession. The Russian case is fully in line with this unfortunate tradition: from Nikon’s schism to the repression against all religions under the Soviet regime, Russian religious thought has often developed in repressive conditions. However, the Russian case has one distinguishing feature, that is, the extensive use of prison camps by Russian and Soviet authorities from the nineteenth century onwards, which has had a direct effect on some religious thinkers. The social and historical-cultural peculiarities of both Tsarist camps and the Gulag have shaped some of those thinkers’ views (for instance, Dostoevsky’s intellectual path was deeply influenced by his experience in the camp). Drawing upon both primary and secondary sources, this chapter aims at showing how the experience of detention in a Russian/Soviet prison camp has influenced some Russian religious thinkers such as Dostoevsky, Florensky, and Karsavin. It will also point readers’ attention to some lesser-known contributions to religious thought by philosophers, poets, and writers.

Moving Fergus Hume’s The Mystery of a Hansom Cab and Breaking the Frame of Poe’s ‘The Murders in the Rue Morgue’

2020 ◽  
pp. 45-59
Author(s):  
Alistair Rolls
Keyword(s):  
Nineteenth Century ◽  
Alternative Solution ◽  
Focal Points ◽  
Modern City ◽  
Physical Mobility ◽  
Crime Novel ◽  
Alternative Mapping

This chapter discusses Fergus Hume’s The Mystery of a Hansom Cab, which is famous as one of Australia’s first bestsellers, its first crime novel and a celebration of Melbourne society at the end of the nineteenth century. It demonstrates how the novel’s physical mobility, on which much of its fame is predicated, and the readability of the modern city, of which it is often considered exemplary, are in fact surprisingly lacking. In their place, and around the focal points of their absence, not least of which is the eponymous cab itself, rich veins of metaphorical mobility are seen to spread out, leading to an alternative mapping of the novel’s signs, including the potential for an alternative solution in line with the detective criticism of French scholar Pierre Bayard.

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