scholarly journals 150 years of the Jagiellonian University Archaeological Cabinet. Past and present

2018 ◽  
Vol 9 ◽  
pp. 185-208
Author(s):  
Marzena Woźny ◽  
Karol Dzięgielewski
Keyword(s):  
19Th Century ◽  
General Interest ◽  
Science And Art ◽  
Europe Today ◽  
Unchanged Form

The collection of the former Jagiellonian University Archaeological Cabinet (Gabinet Archeologiczny Uniwersytetu Jagiellońskiego) in Kraków is unique in Poland. This is the oldest archaeological academic collection in Poland and the only one to survive to the present day in a nearly unchanged form. The collection’s history goes back to 1867, when it was established by Józef Łepkowski, the creator of the first Chair of Archaeology in the Jagiellonian University. The basic bulk of the collection was accumulated after the January Uprising of 1863, in a period marked by increased interest in antiquities: at that time it was regarded as a patriotic duty to preserve the achievements of Polish science and art. The establishment of the cabinet fit well into the general interest in antiquity observed throughout 19th-century Europe. Today, the collection is divided into two parts (each of them kept separately): Mediterranean and Prehistoric. As the artefacts from the Archaeological Cabinet have not been put on display since the end of WWII, the collection has generally maintained its 19th-century character, becoming in itself a museum monument of a kind.

scholarly journals Nikolaas Tinbergen, 15 April 1907 - 21 December 1988

1990 ◽  
Vol 36 ◽  
pp. 547-565 ◽  
Keyword(s):  
19Th Century ◽  
Secondary School Teachers ◽  
School Teacher ◽  
University Education ◽  
General Interest ◽  
The Arts ◽  
Wide Circle ◽  
The Hague ◽  
American Author ◽  
Happy Family

Nikolaas Tinbergen was born in 1907 in The Hague. There must have been something very special about his family, for it produced two Nobel Prize Winners (Niko, in Medicine and his eldest brother in Economics), the Director of Energy in The Hague, another zoologist, who died just as a potentially distinguished career was unfolding, and a sister who became, like the father, a grammar school teacher. Certainly there had been primary and secondary school teachers on both sides of the family, with his father a teacher of Dutch language and history and a scholar of mediaeval Dutch. Perhaps more important, the Tinbergens were a warm and happy family, where each child was given loving encouragement to follow his or her own bent, coupled with the modicum of discipline necessary for the happiness of the whole. Tinbergen (in his Notes for the Royal Society) described the context of his boyhood thus: Our family was the natural centre of a wide circle of friends with greatly varied interests. We had the example of hardworking parents, who managed, before the days of many scholarships, to give all of us a University education. There was a tradition of interest in the arts, in nature and in politics. All my brothers and I had from our father the inclination and a certain ability to draw and paint; during our many happy holidays in the country we would all carry our sketching pads and spend hours sketching. Regular visits to theatre, concerts and art galleries ... But Niko’s interest in nature, already apparent when he was five years old, did not come primarily from family members: they enjoyed the open air, but they were more concerned with the arts and social problems. In an autobiographical article (Tinbergen (1985) to which this memoir is much indebted) he ascribes his fascination with wildlife to the general interest in nature which had been growing in The Netherlands since the late 19th century. There were newspaper articles and popular books on animal life, and, appealing to the collector in every child, excellent reproductions of the paintings of natural history subjects by 19th century artists were given away in biscuit packets. Elsewhere (Notes) he has mentioned the importance to him of the writings of Jac. P. Thijsse and ‘the now forgotten American author William Long’

scholarly journals The beginnings of Serbian music historiography: Serbian music periodicals between the world wars

Muzikologija ◽  
2012 ◽  
pp. 143-164
Author(s):  
Aleksandar Vasic
Keyword(s):  
19Th Century ◽  
Interwar Period ◽  
Academic Discipline ◽  
Rapid Development ◽  
Music History ◽  
Future Research ◽  
General Interest ◽  
Biographical Data ◽  
Essay Writing ◽  
Starting Point

The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.

The evolution of the idea of ‘National’ as a multi-level construct within 19th-century Croatian musical culture

2011 ◽  
Vol 52 (1-4) ◽  
pp. 179-188
Author(s):  
Stanislav Tuksar
Keyword(s):  
19Th Century ◽  
Art Music ◽  
General Interest ◽  
Substantial Part ◽  
Musical Culture ◽  
National History ◽  
Political Issues ◽  
Cultural Life ◽  
The Status ◽  
Multi Level

The idea of ‘national’ in Croatian 19th-century music shows evolutionary tendencies, which can be articulated in four phases. It started in the period 1800–1830 as a construct leading towards higher general musical standards, displaying universality above particularity as its ideal. It continued in the period 1830–1850 with pragmatic treatment of music as incidental to poetry, supporting non-musical, mostly political issues, where universality equaled particularity. It achieved in the period 1850–1870 the status of a substantial part in the scholarly re-construction of national history, still equaling universality with particularity. Finally, as a concept of ethnic or national art music, it reached in the period 1870–1916 a status of general interest in national cultural life and education, displaying particularity above universality.

scholarly journals Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art

2021 ◽  
pp. 198-215
Author(s):  
E.O. Tyagunova ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
17Th Century ◽  
Early 20Th Century ◽  
Western Art ◽  
Meiji Restoration ◽  
Science And Art ◽  
Woodblock Prints ◽  
Japanese Woodblock Prints ◽  
The 19Th Century

There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language and intention to introduce it into the space of traditional ukiyo-e engraving became the basis for the masters of this period. Changes in the field of traditional genres are noted: instead of images of actors (yakusha-e), beauties (bijinga) and landscapes (fukeiga), there were appeared images of foreigners with their manners (yokohama-e), Japan’s modernization (kaika-e), as well as the battle genre (senso-e) dedicated to the events of the Japanese-Chinese (1894–1895) and Russian-Japanese (1904–1905) wars. These attempts to transform the national art allowed to form the ground for the creativity of young masters in the 20th century, who brought traditional engraving to a new level.

Contributions to the mechanisms of mitosis and roles of cytoplasmic microtubules from ultrastructural analyses of fungi

1978 ◽  
Vol 36 (2) ◽  
pp. 266-267
Author(s):  
I. Brent Heath
Keyword(s):  
Nuclear Envelope ◽  
Direct Application ◽  
Ultrastructural Analysis ◽  
General Interest ◽  
Research Results ◽  
Organelle Motility ◽  
Cytoplasmic Microtubules

Detailed ultrastructural analysis of fungal mitotic systems and cytoplasmic microtubules might be expected to contribute to a number of areas of general interest in addition to the direct application to the organisms of study. These areas include possibly fundamental general mechanisms of mitosis; evolution of mitosis; phylogeny of organisms; mechanisms of organelle motility and positioning; characterization of cellular aspects of microtubule properties and polymerization control features. This communication is intended to outline our current research results relating to selected parts of the above questions.Mitosis in the oomycetes Saprolegnia and Thraustotheca has been described previously. These papers described simple kinetochores and showed that the kineto- chores could probably be used as markers for the poorly defined chromosomes. Kineto- chore counts from serially sectioned prophase mitotic nuclei show that kinetochore replication precedes centriole replication to yield a single hemispherical array containing approximately the 4 n number of kinetochore microtubules diverging from the centriole associated "pocket" region of the nuclear envelope (Fig. 1).

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