COVID-19: Cartography as a Witness of Change of Spanish Urban Models along History Due to Sanitary Crisis

2021 ◽  
Vol 8 (1) ◽  
pp. 29-48
Author(s):  
Bárbara Polo Martín
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Human Race ◽  
Starting Point ◽  
20Th Century History ◽  
Urban Models ◽  
Big Cities ◽  
The 19Th Century ◽  
Made In

During past centuries, pandemics were something very natural to the human race, but as result of industrialisation during the 19th century, they became a larger problem. The arrival of populations to big cities provoked the development of irregular and overpopulated quarters without any measures of safety, and facilitated the expansion of diseases. The problem resided in sanitation problems, as the example of what happened in London and Paris. As a solution, in different cities, and as a starting point, Paris with the Haussman’s proposals, issued different reforms and extension plans were made in Spain (Nadal 2017, 357-385). Humanity believed that these extension plans would give us a healthy density and an ordered expansion. We opened big boulevards to believe that we had a wide city to walk, but nothing could be further from reality. At the beginning of 20th century, history repeated itself, and now, a new pandemic crisis has shown that cities have, again, a crisis of congestion. Keywords: cartography, cities, COVID-19, urban models

scholarly journals ЗАГАДКИ СИБИРСКОЙ КОЛЛЕКЦИИ КРАКОВСКОГО ЭТНОГРАФИЧЕСКОГО МУЗЕЯ

2020 ◽  
pp. 83-102
Author(s):  
Юрий Николаевич Квашнин ◽  
Анджей Дыбчак ◽  
Яцек Кукучка
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Western Siberia ◽  
Birch Bark ◽  
The Urals ◽  
The North ◽  
Animal Bones ◽  
Almost All ◽  
The 19Th Century ◽  
Made In

В статье рассмотрены два предмета из Сибирской коллекции Краковского этнографического музея – женская шуба из оленьего меха и шапка из шкуры росомахи. В ходе исследования удалось выяснить имя дарителя – Исидора-Александра Собанского, сосланного в Сибирь участника Польского восстания 1863 г. Была обнаружена не известная ранее специалистам литография русского художника В.Д. Сверчкова, изображающая, в частности, женскую шапку и шубу, схожие с рассматриваемыми предметами из собрания Собанского. Установлено, что шапки из шкур росомахи были повседневным головным убором ненецких женщин на всем пространстве расселения этого этноса. Иногда такие шапки носили шаманы. Кроме того, сегодня известно, что женские шубы, аналогичные тем, что носили ненцы Канинского п-ова, до начала XX в. бытовали также в Приуралье и в низовьях Оби, куда их привозили из-за Урала невесты. В статье также затронуты малоизученные темы польских ссыльных в Западной Сибири и изображения ненцев в работах русских и зарубежных художников. Благодаря ссыльным, вернувшимся на родину из Сибири, в Польшу попали предметы, составившие основу Сибирской коллекции музея. Она насчитывает более 350 экспонатов, среди которых одежда, обувь, головные уборы, изделия из бересты, меха, кожи и костей животных. Почти все вещи были изготовлены в XIX в. разными народами Севера и Сибири – ненцами, селькупами, эвенками, эвенами, чукчами, коряками, алеутами. Two objects from the Siberian collection of the Krakow Ethnographic Museum are discussed in the article – a women’s fur coat from deer fur and a hat from wolverine skin. In the course of the study, the name of the donor was found out – Isidor-Alexander Sobansky, a Polish rebel of 1863, exiled to Siberia. A previously unknown to specialists lithography by the Russian artist Vladimir Sverchkov was discovered; it depicts a woman’s hat and a fur coat similar to objects from the Sobansky collection. It is known that hats from wolverine skins were part of everyday clothes of Nenets women throughout the territory of the Nenets settlement. Sometimes they were worn by shamans. The article proves that until the beginning of the 20th century women’s fur coats of the Nenets of the Kaninsky peninsula were also worn in the Urals and in the lower Ob, having been brought there by brides. In addition, the article touches on poorly studied topics of the Polish exile in Western Siberia and the depiction of the Nenets in the works of Russian and foreign artists. Thanks to the exiles who returned to their homeland from Siberia, the items that formed the basis of the Siberian collection came to Poland. The collection contains more than 350 items, including clothing, footwear, hats, products from birch bark, fur, leather and animal bones. Almost all of them were made in the 19th century by different peoples of the North and Siberia  – Nenets, Selkups, Evenks, Evens, Chukchi, Koryaks, Aleuts.

Farewell to Unjustified Enrichment?

2016 ◽  
Vol 20 (2) ◽  
pp. 123-148 ◽  
Author(s):  
Nils Jansen
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Present State ◽  
German Law ◽  
Property Right ◽  
Historical Background ◽  
German Speaking ◽  
Unjustified Enrichment ◽  
The 19Th Century ◽  
Made In

In this article, Professor Jansen sets out the historical background and present state of unjustified enrichment theory in the German-speaking civilian legal systems, Austria, Germany, and Switzerland. The German law of unjustified enrichment has grown from two intellectually separate roots. These different legal ideas were interwoven during the 19th century by the German Pandectists. During the 20th century, it began to appear to many that these ideas did not fit well with one another. Professor Jansen thus argues that the modern civilian law of unjustified enrichment is increasingly characterised by a division into independent and distinct parts. In particular, the rules on the unwinding of contracts and on payments made in contemplation of future contracts no longer have much in common with claims based on an infringement of another person's property right. The conclusion drawn is that the Germanic systems should take their leave of the unifying idea of unjustified enrichment.

scholarly journals ON THE DATE OF BIRTH OF PATRIARCH HADRIAN OF MOSCOW AND ALL RUSSIA

2019 ◽  
pp. 88-93
Author(s):  
A. G. Avdeev
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Critical Analysis ◽  
17Th Century ◽  
Early 20Th Century ◽  
Visual Study ◽  
The 19Th Century ◽  
Source Of Information ◽  
Made In

The Russian historiographic sources recognize three probable birth dates of Hadrian, the last Patriarch of Moscow and all Russia in 17th century, i.e.1627, 1637 and 1639. The fourth date, 1636, is not widely recognized. Two epitaphs to the Patriarch Hadrian, both written by Karion Istomin, a major court poet of that time, serve as the main source of information about the life of the head of the Russian Church. The first epitaph is prosaic, mounted on his tomb in the shrine of the heads of the Russian Church in the Assumption Cathedral in the Moscow Kremlin, and the second is poetic, preserved in the papers of the poet. . This paper establishes that the cause of chronological differences were errors in reading and interpreting the date of the Patriarch's death in the prosaic epitaph, which were made in historical studies of the 19th - early 20th century and without cross-checking with the gravestone inscription were reproduced in various publications. A visual study of the prosaic epitaph, conducted by the author in March 2014, indicates that Patriarch Hadrian died on October 2, 1700 at the age of 62 . The same date is written in the poetic epitaph. The “birthday” of Patriarch Hadrian (October 2), also raises doubts; most likely this date originated in the 19th century on the basis of the day of his baptism. The conducted research on the base of combination of archival sources and critical analysis of the writings of historians of the 19th - early 20th centuries established that Patriarch Hadrian was born in 1638.

scholarly journals Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

Ars Adriatica ◽  
2016 ◽  
pp. 185
Author(s):  
Petar Puhmajer ◽  
Krasanka Majer Jurišić
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Apartment Building ◽  
Wrought Iron ◽  
Late 18Th Century ◽  
Archival Documentation ◽  
The 19Th Century ◽  
Storey Building ◽  
Made In

This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

scholarly journals HUTAN JATI BERKALUNG BESI: PENGANGKUTAN KAYU JATI DI JAWA PADA AKHIR ABAD KE-19 DAN AWAL ABAD KE-20

2017 ◽  
Vol 1 (2) ◽  
pp. 184
Author(s):  
Warto Warto
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Economic Benefits ◽  
Early 20Th Century ◽  
Forest Environment ◽  
The Past ◽  
Starting Point ◽  
The 19Th Century

Teak forests became one of the important resources in Java in the past. Teak forests did not only provide economic benefits for residents to fulfill their daily needs but also provided other benefits, especially in stabilizing the forest environment. However, the condition began to change when the teak forests exploited. In the 19th century and early 20th century, the environmental teak forests experienced degradation and deforestation that was difficult to control. The presence of teak logging companies at the end of the 19th century became the starting point of the accelerated deforestation. In running a business, they used modern tools that can simplify the process of harvesting and be transporting of teakwood. Some of the modern tools called trams and trains which were used to carry teak logs from the forests to shelters and ports. By utilizing modern transportation, teak woods can be transported quickly, accurately and massively. This paper shows that the opening of tram and train rail road’s in teak forests in addition to facilitating the transportation of goods and people, also led to the improvement and expansion of teak massive deforestation.

scholarly journals SOBRE A ARTE ENTRE OS S�CULOS 19 E 20: UMA ABORDAGEM A PARTIR DAS REPRESENTA��ES DO ATELI� VAZIO / On art between the 19th and 20th centuries: an approach from representations of the empty studio

2022 ◽  
Vol 27 (42) ◽  
pp. 172-187
Author(s):  
Nat�lia dos Santos Nicolich
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Paradigm Shifts ◽  
Starting Point ◽  
The Aesthetic ◽  
The 19Th Century ◽  
19Th Century Art

O estudo da hist�ria da arte no Brasil costumava tratar o s�culo 19 e o 20 como dois per�odos bastante distintos, quase conflitantes, sobre os quais n�o era poss�vel conceber que houvesse di�logo. Nos �ltimos anos, com as revis�es historiogr�ficas sobre a abordagem modernista, os pesquisadores valorizaram a produ��o oitocentista e por consequ�ncia abriram o campo para novas possibilidades de estudo sobre a arte nas primeiras d�cadas dos anos 1900. O presente artigo intenciona contribuir com essas pesquisas, propondo uma leitura para al�m das transforma��es est�ticas ocorridas nesse per�odo, tendo como ponto de partida as representa��es do ateli� vazio. Assim, considerando o ateli� vazio um tema por excel�ncia na arte do s�culo 19, investigamos sua persist�ncia no s�culo 20 apesar das mudan�as de paradigma na pintura. Para tanto, reunimos algumas obras realizadas entre os anos 1880 e 1950 aproximadamente, nas quais observamos aspectos sobre a posi��o do artista como profissional, a concep��o da arte e da realidade que os cerca.Palavras-chaveAteli� vazio. S�culos 19 e 20. Pintura. Artista.�AbstractThe study of Art History in Brazil used to treat the 19th century and the 20th century as two very distinct, almost conflicting periods, about which it was not possible to conceive that there were dialogues. In recent years, with the historiographic revisions on the modernist approach, researchers have valued the nineteenth-century production and consequently opened the field to new possibilities of studying art in the early 1900s. The present article intends to contribute to this research, proposing a reading beyond the aesthetic transformations that occurred in this period, taking as a starting point the representations of the empty studio. Thus, considering the empty studio a theme par excellence in 19th century art, we investigate its persistence in the 20th century despite the paradigm shifts in painting. To this end, we gathered some works from approximately 1880 to 1950, in which we observed aspects about the position of the artist as a professional, the conception of art and the reality that surrounds them.Keywords:Empty studio. 19th and 20th centuries. Painting. Artist.

A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan

2018 ◽  
pp. 56-61
Author(s):  
Helena Vogelsang
Keyword(s):  
Social Status ◽  
20Th Century ◽  
19Th Century ◽  
Real Life ◽  
Everyday Work ◽  
The 19Th Century ◽  
Made In

Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography

scholarly journals TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC

2020 ◽  
Vol 16 (2) ◽  
pp. 100-113
Author(s):  
Oleg Khromov
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Religious Art ◽  
History Of ◽  
Passion Of Christ ◽  
The 19Th Century ◽  
First Time ◽  
Made In

The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.

scholarly journals Five Centuries of Bible Translations into Kashubian

Verbum Vitae ◽  
2021 ◽  
Vol 39 (4) ◽  
pp. 1175-1192
Author(s):  
Adam Ryszard Sikora
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
New Testament ◽  
Bible Translations ◽  
The New Testament ◽  
History Of ◽  
Biblical Texts ◽  
The 19Th Century ◽  
Made In

This paper discusses translations of biblical passages into Kashubian, which originated in the Lutheran circles between the 16th and the 19th centuries, followed by translations made in the Catholic circles in the 20th and the 21st centuries. The history of these translations has been divided into two periods: “old translations” and “contemporary translations.” The former comprise various bibli[1]cal texts preserved in manuscripts and printed monuments, which came into being between 1586 and the second half of the 19th century. The fundamental texts of this period include the works by Szymon Krofey (1586), Michał Pontanus (1643), and Perykopy smołdzińskie (1699–1701). The old translations were done from German in the Protestant circles in West Pomerania. In turn, the “contemporary trans[1]lations” of biblical texts into Kashubian embrace translations from the second half of the 20th century, which were produced in the Catholic environment of Gdańsk Pomerania: from Latin (Mk 4:3-20) by Alojzy Nagel (1973), from Latin (four Gospels) by Rev. Franciszek Grucza (1992), from Polish (the New Testament and the Psalms) by Eugeniusz Gołąbek (1993–2007) and my own translations from Hebrew and Greek (the Four Gospels, the Pentateuch, Ecclesiastes) prepared in 2001–2020.

Immigrant Arab Women in Chile during the Renaissance (Nahda), 1910s-1920s

1970 ◽  
pp. 47-55
Author(s):  
Sarah Limorté
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Thematic Analysis ◽  
New World ◽  
Arab Women ◽  
Arab Woman ◽  
The Subject ◽  
The 19Th Century

Levantine immigration to Chile started during the last quarter of the 19th century. This immigration, almost exclusively male at the outset, changed at the beginning of the 20th century when women started following their fathers, brothers, and husbands to the New World. Defining the role and status of the Arab woman within her community in Chile has never before been tackled in a detailed study. This article attempts to broach the subject by looking at Arabic newspapers published in Chile between 1912 and the end of the 1920s. A thematic analysis of articles dealing with the question of women or written by women, appearing in publications such as Al-Murshid, Asch-Schabibat, Al-Watan, and Oriente, will be discussed.

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