scholarly journals ETHNOGRAPHIC STUDIES OF THE PEOPLES OF SIBERIA BY POLISH EXILES IN THE SECOND HALF OF THE 19TH CENTURY

2021 ◽  
Vol 71 (2) ◽  
pp. 154-160
Author(s):  
Sergiusz Leonczyk ◽  
Keyword(s):  
19Th Century ◽  
Religious Beliefs ◽  
Special Contribution ◽  
European Languages ◽  
Ethnographic Studies ◽  
Ethnographic Fiction ◽  
The 19Th Century

The article provides information on ethnographic studies of Siberian peoples published by Poles in the form of descriptions, notes and diaries in the second half of the 19th century. The ethnographic sketches of the exiled participants of the January Uprising in Poland (1863–1864), P. Argant, A. J. Kon, M. Hruszecki, and J. Koton, published in European languages are still little-studied. The author notes the special contribution of L. Nemojewski, who, while in exile, wrote dozens of essays and the book “Siberian Pictures”, which was published in Polish and English. L. Nemojewski was one of the first to present to the European reader the life of the Siberian peoples — and not only the indigenous, but also the Russian Siberians. Not all his descriptions are accurate, sometimes they are somewhat naive. Of particular value is one of the first detailed descriptions of the Khakasses. Nemojewski paid considerable attention to them, analysing not only their traditions, but also their psychology, folklore and religious beliefs. The paper concludes by emphasizing the importance of the study of published ethnographic observations of the exiled participants of the January Uprising in Poland in 1863–1864. All these essays, articles and books certainly fit into the trend of “ethnographic fiction” or “ludoznawstwa” popular in Poland in the second half of the 19th century.

A New Pattern of Old Fabric: Taʻlīm-i fārisī and the Grammatical Description of the Persian Language in the Ottoman Empire

2021 ◽  
Vol 27 (41) ◽  
pp. 31-48
Author(s):  
Munir Drkić ◽  
Ahmed Zildžić
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Paradigm Shift ◽  
Traditional Approach ◽  
New Approach ◽  
Persian Language ◽  
European Languages ◽  
Language Students ◽  
The 19Th Century

This paper aims to examine the work entitled Taʻlīm-i fārisī in the context of the Ottoman tradition of the grammatical study of the Persian language. Taʻlīm-i fārisī, most likely penned by Kemal-pasha, is a short yet exceedingly significant primer for Persian language students dated in the middle of the 19th century. After a brief overview of the Persian grammar studies in the Ottoman Empire, the authors present the work and its author and conduct an analysis of the content of Taʻlīm-i fārisī. In terms of its underlying methodology, this work stands halfway between two principal tendencies: one is the traditional approach to studying the Persian language in the Ottoman Empire; another is a new approach developed under the influence of grammatical description of European languages. This paradigm shift in the Persian language's grammatical description within the Ottoman Empire is readily observable in the primer under review.

scholarly journals Religiosity in Pulamai ilakkanam

2021 ◽  
Vol 3 (4) ◽  
pp. 156-166
Author(s):  
Karthick K ◽  
Thiruveni V
Keyword(s):  
19Th Century ◽  
Religious Beliefs ◽  
Religious Literature ◽  
Tamil Literature ◽  
Literary Context ◽  
The 19Th Century ◽  
Literary Period

Until the Sangam literary period (till 200 AD), Tamil language was secular and Tamil literature was created with an emphasis on virtue in both internal and external life. After that, religious literature started appearing in Tamil language. Tamil grammar texts are based on literature that appeared in different periods. Thus the “Pulamai ilakkanam” (grammar for scholarliness) composed by Vannacharabam Dantapani swami reveals the literary context that prevailed in the 19th century when he lived. Pulamai ilakkanam shows the author's religiosity and the religious beliefs and devotion in the field of education and literature at that time. Grammar is the rules for creating literature. If so, constructing Tamil scholarliness in relation to a particular religion would be tantamount to narrow down the breadth of the Tamil language. Based on the content of Pulamai ilakkanam and the literary context of the time, this article discusses the dominance of the religions over Tamil literature and the use oflanguage by religions for their development.

A New Pattern of Old Fabric: Taʻlīm-i fārisī and the Grammatical Description of the Persian Language in the Ottoman Empire

2021 ◽  
Vol 27 (41) ◽  
pp. 31-48
Author(s):  
Munir Drkić ◽  
Ahmed Zildžić
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Paradigm Shift ◽  
Traditional Approach ◽  
New Approach ◽  
Persian Language ◽  
European Languages ◽  
Language Students ◽  
The 19Th Century

This paper aims to examine the work entitled Taʻlīm-i fārisī in the context of the Ottoman tradition of the grammatical study of the Persian language. Taʻlīm-i fārisī, most likely penned by Kemal-pasha, is a short yet exceedingly significant primer for Persian language students dated in the middle of the 19th century. After a brief overview of the Persian grammar studies in the Ottoman Empire, the authors present the work and its author and conduct an analysis of the content of Taʻlīm-i fārisī. In terms of its underlying methodology, this work stands halfway between two principal tendencies: one is the traditional approach to studying the Persian language in the Ottoman Empire; another is a new approach developed under the influence of grammatical description of European languages. This paradigm shift in the Persian language's grammatical description within the Ottoman Empire is readily observable in the primer under review.

Fin de siècle

2018 ◽  
Author(s):  
David Martens
Keyword(s):  
19Th Century ◽  
Cultural Production ◽  
Fin De Siecle ◽  
Art Nouveau ◽  
European Languages ◽  
Fin De Siècle ◽  
Mind Set ◽  
Historical Moment ◽  
The 19Th Century ◽  
First Time

Referring to the end of the 19th century, Fin de siècle not only represents a specific historical moment but also a part of the sensibility and of the cultural production of the period. It is particularly challenging to define fin de siècle within the artistic world, as it neither corresponds to a movement around a leading figure, nor to an amalgamation of shared and promulgated aesthetic principles (there is no manifesto laying claim to fin-de-sièclism). The term appears for the first time at the end of the 1880s. In its French form, it has imposed itself ever since on most Western-European languages (e.g., English, German). Fin de siècle crystalizes certain anxieties that are typical of this era: the period is characterized by a particular striving for modernity, while at the same time it is also perceived as an end. This explains why the fin de siècle mentality has often been closely related to decadence (or decadentism) to which it is, however, not limited: symbolism, aestheticism or even art nouveau all fall within fin de siècle. The fin de siècle mind-set is marked by an ensemble of shared features, in particular an ambivalent fear for the end.

François Thurot and the First History of Grammar

1978 ◽  
Vol 5 (1-2) ◽  
pp. 45-57 ◽  
Author(s):  
Julie T. Andresen
Keyword(s):  
19Th Century ◽  
French Revolution ◽  
Scientific Language ◽  
Genetic Classification ◽  
Subsequent Work ◽  
New Variety ◽  
Cultural Relativity ◽  
European Languages ◽  
The Mind ◽  
The 19Th Century

Abstract François Thurot’s Discours préliminaire (1796), a first attempt at a historiography of grammar, sums up the language theories of the philosophes, while prefiguring the 19th century in both his concept of language and his attitude towards the science of language. He accepts, for instance, the theory that the perfection of a language reflects the progress of the mind but rejects the metaphysical speculation on the origin of language that characteristically accompanied such a theory. And although Thurot, like his contemporaries, still preoccupies himself with the method of logico-linguistic analysis which would lead to a langue bien faite, his study opens up to a new variety of linguistic phenomena in the vernacular. Thus, his view of language embraces both the mechanical reductionism aimed at scientific language with its pretention to universality as well as the creative dynamism of discursive language with its recognition of cultural relativity. Furthermore, Thurot assimilates the interest in the genetic relationship among languages, that was already in the air, to the historicism of the philosophes, whose historical tableaux unfolded within their theories of language. Thurot’s interest in natural language is an outgrowth of the prevailing ‘climate of opinion’. The data-oriented approach to language had begun with the invention of the printing press, from which time there was an ever increasing accumulation and distribution of material on non-European languages. The French Revolution was to dramatize the importance of discursive language, since the unification of the nation depended, in part, on the democratization and standardization of daily language. Such a climate proved favorable for subsequent work on genetic classification and on Indo-European in the 19th century.

King Narasiṁha I Before his Spiritual Preceptor

1971 ◽  
Vol 103 (2) ◽  
pp. 134-138
Author(s):  
O. M. Starza-Majewski
Keyword(s):  
19Th Century ◽  
Religious Beliefs ◽  
New Delhi ◽  
The Sun ◽  
13Th Century ◽  
Spiritual Instruction ◽  
Carboniferous Shale ◽  
The 19Th Century ◽  
Victoria And Albert Museum

The collection of Indian sculpture in the Victoria and Albert Museum includes a fine relief from Koṇārka. It is about 2 feet 6¾ inches (78·1 cm.) in height and depicts King Narasiṁha I (a.d. 1238–64), the founder of the celebrated Sun temple at Koṇārka in Orissa, sitting at the feet of his spiritual preceptor (Plate I). Acquired in the 19th century, this relief, which is carved in carboniferous shale, was long believed to be Nepalese. Havell, writing in 1911, notes that this sculpture is “said to have come from Nepal. Its date is uncertain. It appears to represent a Vaishnava adaptation of some old Buddhist jātaka story.” Some years later it was realized that the style of this sculpture belonged to that of the Eastern Ganga of the 13th century a.d., and that it represented the conversion of a kṣatriya noble to the worship of Viṣṇu by a Vaiṣṇava priest. The figure of the warrior sitting at the feet of the priest was identified as that of Narasimha I receiving spiritual instruction from his guru. This relief is one of a number showing scenes from the life of Narasimha which come from the great Koṇārka temple dedicated by him to the sun-god Sūrya. Of these, the panel already mentioned and another in New Delhi throw an interesting light on Narasiṃha's religious beliefs.

Hoogvliet Versus Van Ginneken

1988 ◽  
Vol 15 (1-2) ◽  
pp. 207-238
Author(s):  
Jan Noordegraaf
Keyword(s):  
19Th Century ◽  
Universal Grammar ◽  
Direct Reaction ◽  
World Language ◽  
Major Work ◽  
Parts Of Speech ◽  
European Languages ◽  
The World ◽  
Historical Comparative ◽  
The 19Th Century

Summary In the last two decades of the 19th century the Dutch linguist Jan Marius Hoogvliet (1860–1924) developed an individual approach to non-historical linguistics, in which he sought to take expressly into account data from non-Indo- European languages. His linguistic views prompted him to attack the ideas of the proponents of the ‘world language’ Volapük, which was popular in the Netherlands in the 1880s. In 1903 his major work, Lingua, appeared. This book can aptly be characterized as a specimen of a universal grammar with psychological underpinnings; it was intended as a grammar for all languages in the world. Hoogvliet’s main opponent, Jacobus van Ginneken (1877–1945) considered Lingua ‘a good book’, but he found various serious shortcomings in it. First, he thought the empirical bases too narrow; second, whereas Hoogvliet had based his thinking on rational psychology, van Ginneken preferred pathological psychology as put forward by Pierre Janet (1859–1947) in his L’automatisme psychologique (1889). Van Ginneken’s Principes de linguistique psychologique (1907) can be regarded as an elaboration on his Lingua review from 1903. However, the works of Hoogvliet and van Ginneken do have several points in common: both start from the psyche of the speaking individual and both take into account data from non-Indo-European languages. The controversy that arose between them can be traced back to their different views of language. Hoogvliet considered an unconscious and invariable ‘Normallogik’ to be the kernel of language, whereas van Ginneken regarded feeling as the innermost essence of language. While van Ginneken still tried to incorporate the results of German historical comparative grammar into a grand, historically coloured synthesis, Hoogvliet’s writings were characterized by very sharp anti-German tones. The universal, logical classification of the parts of speech expounded in Lingua must be regarded as a direct reaction to Hermann Paul’s (1846–1921) Prinzipien der Sprachgeschichte (1880). Moreover, Hoogvliet defended the scientific character of a non-historical approach of language against Paul. With that he is the most remarkable Dutch synchronic linguist of the last quarter of the 19th century. Hoogvliet’s theory, however, was highly idiosyncratic and many a reader was also repelled by his new and unconventional terminology. Only few linguists, among whom the Dutch structuralist Hendrik J. Pos (1898–1955), have studied Hoogvliet’s views thoroughly later on.

scholarly journals Woman’s Self-Realisation in the Poetry of Thomas Hardy

2018 ◽  
Vol 8 (4) ◽  
pp. 58
Author(s):  
Maha Qahatn Sulaiman
Keyword(s):  
19Th Century ◽  
Religious Beliefs ◽  
Thomas Hardy ◽  
Female Characters ◽  
Christian Church ◽  
Comprehensive Investigation ◽  
Moral Principles ◽  
Divine Intervention ◽  
The World ◽  
The 19Th Century

A comprehensive investigation of Thomas Hardy’s poetry reveals the doctrines of Existentialism which were new and not common during the 19th century. Hardy’s poetry, combining both Modern and Victorian elements, proclaims the emancipation from the fetters of money and religious oriented orthodox heritage. Hardy believes that the struggle for existence is the canon of life and, therefore, human cooperation is a necessity to man’s wellbeing. Though Hardy’s religious beliefs declined, mainly the concepts of divine intervention, absolution, and afterlife, he did not relinquish his faith in the moral principles of the Christian Church. This is expressed in his poetry through an intense desire to elevate man’s status in the world, to secure the transition of man’s existence from insignificance to accomplishment and excellence. The present study examines Hardy’s poetry in the light of the existentialists’ belief that man can achieve supremacy by being conscious of one’s limitations, ethical responsibilities, and duties. The focus of the study is on female characters in Hardy’s poetry, whose elevated consciousness and self-realisation present an ethical model that can assist the development of humanity and improve the world.

scholarly journals Teoria i praktyka etymologiczna Samuela Bogumiła Lindego na tle jego komparatystyki językoznawczej

2018 ◽  
pp. 41-75
Author(s):  
Tadeusz Lewaszkiewicz
Keyword(s):  
19Th Century ◽  
Point Of View ◽  
Theory And Practice ◽  
Early 20Th Century ◽  
Early 19Th Century ◽  
Slavic Languages ◽  
European Languages ◽  
Language Studies ◽  
Tentative Approval ◽  
The 19Th Century

Linde’s theory and practice of etymology must not be evaluated solely through the lens of modern linguistics, but also from the point of view of late 19th century language (especially Slavic language) studies. Against the general background of late 18th/early 19th century linguistics, his theory of etymology may be granted tentative approval, even though it contains many mistakes and nonsensical conclusions. Linde compiled the views of many of his predecessors (such as de Brosses, de Gébelin, Adelung, Ihre, Wachter and Dobrovský), but also attempted to modify some of their thoughts and add his own. It is not true (as stated in Zwoliński 1981) that no connection exists between the etymological theories of Dobrovský and Linde. The Polish lexicographer did indeed partially utilise the Czech’s work. Such approval cannot, however, be extended to Linde’s etymological practices as regards comparing Polish and Polish-Slavic lexical material: even though 65% (i.e. 547) of etymological fields contain correctly compiled vocabulary, mistakes occur in 35% (i.e. 292) of them. That Linde’s etymology-deriving principles were ineffective is evidenced by the fact that each of these 292 etymological fields should – based on the state of knowledge in the late 19th/early 20th century – be split into from 2 to 19 etymological fields. On the other hand, his etymological lists that cite words from many Indo-European languages, such as Polish and other Slavic languages, Latin, Greek, German and Baltic languages, and Sanskrit, should be viewed with some approval. Most of the comparisons found in Linde’s etymological treatise, which contains about 1,300 entries, bear similar marks of plausibility. The possibility of Bopp, Rask and Grimm being familiar with the inquiries of the Polish lexicographer and amateur linguist cannot be excluded. In the 19th century, Linde’s etymological principles influenced the so-called inspired linguists, including J. Kamiński, J. Lelewel, A. Mickiewicz and C.K. Norwid.

Visual Arts: Abstraction

2021 ◽  
Author(s):  
Paula Wisotzki
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Visual Arts ◽  
Religious Beliefs ◽  
Modern Society ◽  
Natural World ◽  
Abstract Art ◽  
Western Society ◽  
American Artists ◽  
The 19Th Century

For avant-garde European and American artists at the turn of the 20th century, a nexus of developments encouraged the rejection of naturalism, which had driven most of Western art for more than four centuries. Despite the increasing secularization of Western society throughout the 19th century, religious beliefs and practices were one important source for artists’ experimentation with abstracting forms from nature. Christianity and other world religions aided artists who sought to shift the focus of their art from description to expression. Around 1910, certain European and American artists pressed forward to make art that they considered to be fully nonrepresentational. Still, the bridge between abstraction and nonrepresentation was a challenging one to cross and artists frequently invoked religious beliefs to justify leaving the natural world behind. The evolution of abstraction in Western visual arts was intimately linked to the modern era. As important as religious concepts may have been to individual artists around 1900, artists had gradually moved to the periphery of society in the 19th century, leaving behind the institutions, including churches, that had been their primary means of support. These changing relationships gave individual artists the freedom to explore new ideas but eliminated stable sources of income previously available to them. On the other side of the patronage divide, mainstream religions were already threatened by the radical modernization of Western society, so even though religious dogma was replete with abstract concepts, churches were reluctant to embrace abstraction in the visual arts. At the same time, while artists were committed to expressions of spiritual truth in their abstract art, their objects were rarely produced with a conventional church setting in mind. Emerging in the 19th century, the complex relationship among modern society, abstract art, and religious practices persisted well into the 20th century.

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