scholarly journals O Passado Presente, ou como se escrevia a história do tempo presente no século XIX. Gonçalves de Magalhães e a Memória Histórica da Revolução da Província do Maranhão (1839-1840)

Diálogos ◽  
2018 ◽  
Vol 22 (1) ◽  
pp. 205
Author(s):  
Eliete Lucia Tiburski
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Siglo Xix ◽  
Brazilian History

O artigo apresenta a questão da história do tempo presente e suas relações com o conceito de história no início do século XIX no Brasil. As reflexões serão feitas a partir do trabalho de Gonçalves de Magalhães intitulado Memoria Historica e Documentada da Revolução da Provincia do Maranhão desde 1839 até 1840, publicado na Revista do IHGB em 1848. Trata-se de analisar a condição do historiador enquanto sujeito que intervém em seu próprio tempo, a delimitação do campo da história, seus procedimentos e limites. Abstract The Present Past or as it was written the history of the present time in nineteenth century. Gonçalves de Magalhães and the Memória Histórica da Revolução da Província do Maranhão (1839-1840) This paper presents the question about the history of present time and its relations with the concept of history in the early nineteenth century in Brazil. The starting point of the discussion is the article Memoria Historica e Documentada da Revolução da Provincia do Maranhão desde 1839 até 1840, published by Gonçalves de Magalhães an influential Brazilian history journal in 1848. The goal is to analyze the condition of the historian as a subject involved in his own time, the delimitation of history field, its methods and limits. Resumen El pasado presente o cómo escribir la historia del tiempo presente en el siglo XIX. Gonçalves de Magalhães y la Memória Histórica da Revolução da Província do Maranhão (1839-1840). El artículo presenta la cuestión de la historia del tiempo presente y sus relaciones con el concepto de historia, en el comienzo del siglo XIX, en Brasil. Las reflexiones están realizadas a partir de la obra de Gonçalves de Magalhães, titulada Memoria Historica e Documentada da Revolução da Provincia do Maranhão desde 1839 até 1840, publicada en la Revista IHGB en 1848. Se trata de analizar la condición del historiador como sujeto que interviene en su propio tiempo, la delimitación del campo de la historia, sus procedimientos y límites.

Constant differences: Friedrich Wilhelm Bessel, the concept of the observer in early nineteenth-century practical astronomy and the history of the personal equation

2007 ◽  
Vol 40 (3) ◽  
pp. 333-365 ◽  
Author(s):  
CHRISTOPH HOFFMANN
Keyword(s):  
Nineteenth Century ◽  
Reference Point ◽  
Observational Error ◽  
Early Nineteenth Century ◽  
Personal Equation ◽  
Starting Point ◽  
History Of ◽  
New Perspective

AbstractIn 1823 the astronomer Friedrich Wilhelm Bessel gave notice of an observational error which is now known as the personal equation. Bessel, however, never used this phrase to characterize the finding that when noting the time of a certain event observers show a considerable ‘involuntary constant difference’. From this starting point the paper develops two arguments. First, these involuntary differences subverted the concept of the ‘observing observer’. What had previously been defined as a reference point of trust and precision turned into a source of an error that resisted any wilful intervention. Second, and contrary to later suggestions, Bessel's findings did not initially lead to discussions and measures of permanent control. In everyday astronomical work the influence of such differences could be avoided by comparatively simple means. Taking this into account offers a new perspective both on the history of the personal equation and on the significance of Bessel's findings. Whereas the former has to be read as the history of a rather particular reaction to the phenomenon of constant differences, the latter is connected with a rather fundamental transition in the epistemology of the observer.

scholarly journals Apuntes en torno a la historia intelectual Argentina en el siglo XIX. Metodologías, perspectivas y desafíos / Notes on Argentine Intellectual History in the Nineteenth Century: Approaches, Perspectives and Challenges

2018 ◽  
pp. 27
Author(s):  
Mariano Di Pasquale
Keyword(s):  
Nineteenth Century ◽  
Intellectual History ◽  
Conceptual History ◽  
Early Nineteenth Century ◽  
New Approaches ◽  
History Of ◽  
Political Speeches ◽  
Siglo Xix ◽  
Analytical Tools

This article examines the new approaches to intellectual history through the exam of theoretical and methodological uses of some Argentine historians devoted to the research into the early nineteenth-century River Plate topics. To this purpose, we shall attempt to identify and inquire the presence of a number of relevant topics such as the reception of analytical tools inspiring the field of conceptual history, the introduction of category “political speeches”, the use of the history of political languages, and the implementation of the notions habitus and “structure of feeling”.KeywordsHistoriography, Intellectual History, Methodologies, Argentine, nineteenth century.ResumenEn este artículo se analizan los nuevos enfoques de la historia intelectual a través del examen de los usos teóricos-metodológicos de ciertos historiadores argentinos dedicados a las cuestiones rioplatenses de la primera mitad del siglo XIX. A este fin, intentamos identificar e indagar la presencia de una serie de tópicos relevantes tales como la recepción de las herramientas analíticas de la historia de los conceptos, la introducción de la categoría “discursos políticos”, la utilización de la historia de los lenguajes políticos y la aplicación de las nociones de habitus y “estructura de experiencia”.Palabras clavesHistoriografía, historia Intelectual, metodologías, Argentina, siglo XIX.

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.

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.

Dan Inman, The Making of English Theology: God and the Academy at Oxford (Minneapolis: Fortress Press, 2014). ISBN: 9781451469264

2017 ◽  
Author(s):  
Johannes Zachhuber
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
University Of Oxford ◽  
History Of ◽  
History Of The University ◽  
The University

This chapter reviews the book The Making of English Theology: God and the Academy at Oxford (2014). by Dan Inman. The book offers an account of a fascinating and little known episode in the history of the University of Oxford. It examines the history of Oxford’s Faculty of Theology from the early nineteenth century to the middle of the twentieth. In particular, it revisits the various attempts to tinker with theology at Oxford during this period and considers the fierce resistance of conservatives. Inman argues that Oxford’s idiosyncratic development deserves to be taken more seriously than it often has been, at least by historians of theology.

Presbyterians and Ethics

2019 ◽  
pp. 525-537
Author(s):  
Mark Douglas
Keyword(s):  
World War Ii ◽  
Great Awakening ◽  
Reformed Theology ◽  
Second Great Awakening ◽  
World War ◽  
Early Nineteenth Century ◽  
History Of Ethics ◽  
Presbyterian Church ◽  
Starting Point ◽  
History Of

The history of ethics in the Presbyterian Church has been shaped by the theological commitments of Reformed theology, the church’s ecumenical and interreligious encounters, its interactions with the wider cultures in which it functions, and its global scope. Consequently, Presbyterian ethics have become increasingly diverse, culturally diffused, ecumenically directed, and frequently divisive. That said, its history can helpfully be divided into three lengthy periods. In the first (roughly from the church’s origins in 1559 to the Second Great Awakening in the early nineteenth century), theology, ethics, and politics are so interwound that distinguishing one from the others is difficult. In the second (roughly from the Second Great Awakening to the end of World War II), moral concerns emerge as forces that drive the church’s theology and polity. And in the third (for which proclamation of the Universal Declaration of Human Rights in 1948 might be a heuristically helpful starting point), ethics increasingly functions in ways that are only loosely tethered to either Reformed theology or polity. The strength of the church’s social witness, the consistency of its global engagements, and the failings of its internecine strife are all evident during its five-hundred-year history.

The National and the Universal

2020 ◽  
pp. 368-386
Author(s):  
Sarah Collins
Keyword(s):  
Nineteenth Century ◽  
Cultural Difference ◽  
John Stuart Mill ◽  
Late Nineteenth Century ◽  
Johann Gottfried Herder ◽  
Early Nineteenth Century ◽  
The World ◽  
Respective Treatment ◽  
History Of

This chapter examines the continuities between the categories of the “national” and the “universal” in the nineteenth century. It construes these categories as interrelated efforts to create a “world” on various scales. The chapter explores the perceived role of music as a world-making medium within these discourses. It argues that the increased exposure to cultural difference and the interpretation of that cultural difference as distant in time and space shaped a conception of “humanity” in terms of a universal history of world cultures. The chapter reexamines those early nineteenth-century thinkers whose work became inextricably linked with the rise of exclusivist notions of nationalism in the late nineteenth century, such as Johann Gottfried Herder and John Stuart Mill. It draws from their respective treatment of music to recover their early commitment to universalizable principles and their view that the “world” is something that must be actively created rather than empirically observed.

scholarly journals An Illustrated Shiʿi Pilgrimage Scroll in the Collections of the Royal Asiatic Society

2021 ◽  
pp. 1-25
Author(s):  
ULRICH MARZOLPH ◽  
MATHILDE RENAULD
Keyword(s):  
Nineteenth Century ◽  
Visual Narrative ◽  
Early Nineteenth Century ◽  
Asiatic Society ◽  
Material Condition ◽  
Visual Dimension ◽  
History Of ◽  
Initial Survey ◽  
Royal Asiatic Society

Abstract The collections of the Royal Asiatic Society hold an illustrated pilgrimage scroll apparently dating from the first half of the nineteenth century. The scroll's hand painted images relate to the journey that a pious Shiʿi Muslim would have undertaken after the performance of the pilgrimage to Mecca. Its visual narrative continues, first to Medina and then to the Shiʿi sanctuaries in present-day Iraq, concluding in the Iranian city of Mashhad at the sanctuary of the eighth imam of the Twelver-Shiʿi creed, imam Riḍā (d. 818). The scroll was likely prepared in the early nineteenth century and acquired by the Royal Asiatic Society from its unknown previous owner sometime after 1857. In terms of chronology the pilgrimage scroll fits neatly into the period between the Niebuhr scroll, bought in Karbala in 1765, and a lithographed item most likely dating from the latter half of the nineteenth century, both of which depict a corresponding journey. The present essay's initial survey of the scroll's visual dimension, by Ulrich Marzolph, adds hitherto unknown details to the history of similar objects. The concluding report, by Mathilde Renauld, sheds light on the scroll's material condition and the difficulties encountered during the object's conservation and their solution.

scholarly journals Johann Michael von Hermann (1793–1855): A predecessor of Max Schweidler?

2019 ◽  
Vol 40 (3-4) ◽  
pp. 239-270
Author(s):  
Susanne Wagini ◽  
Katrin Holzherr
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
Early History ◽  
Early Nineteenth Century ◽  
Conservation History ◽  
Works Of Art ◽  
Close Study ◽  
Fresh Perspective ◽  
History Of ◽  
Paper Conservation

Abstract The restorer Johann Michael von Hermann (1793–1855), famous in the early nineteenth century, has long fallen into oblivion. A recent discovery of his work associated with old master prints at the Staatliche Graphische Sammlung München has allowed a close study of his methods and skills as well as those of his pupil Ludwig Albert von Montmorillon (1794–1854), providing a fresh perspective on the early history of paper conservation. Von Hermann’s method of facsimile inserts was praised by his contemporaries, before Max Schweidler (1885–1953) described these methods in 1938. The present article provides biographical notes on both nineteenth century restorers, gives examples of prints treated by them and adds a chapter of conservation history crediting them with a place in the history of the discipline. In summary, this offers a surprising insight on how works of art used to be almost untraceably restored by this team of Munich-based restorers more than 150 years before Schweidler.

Burney's The Wanderer and Early-Nineteenth-Century Commodity Fetishism

2002 ◽  
Vol 57 (1) ◽  
pp. 1-30 ◽  
Author(s):  
Andrea Henderson
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Social Changes ◽  
Commodity Fetishism ◽  
Early Nineteenth Century ◽  
Labor Theory ◽  
History Of ◽  
Theory Of Value ◽  
Historical Moment ◽  
The Wanderer

This essay explores a particular moment in the history of commodity fetishism by means of an examination of Frances Burney's The Wanderer (1814). The novel, which is explicitly concerned with the social changes facing early-nineteenth-century England, reveals that at this historical moment the commodity inspired emotions of a particular kind: it was idealized and perceived as attractively individualized, aloof, exotic, and changeable, and it elicited a passionate and sometimes even painful form of desire. In The Wanderer Burney explores the human repercussions of this new way of engaging with objects in the marketplace. She reveals, moreover, the extent to which the fetishism of the commodity reflected not just developments within the economy but also political change: under the influence of the French Revolution the charisma once generated by social status was transferred to the economic realm, where, embodied in the commodity, it gave rise to a pleasurable but masochistic reverence. Burney'sargument for the usefulness of economic independence necessarily leads her to appreciate the commodity fetishism she describes: even while she develops a labor theory of value, Burney promotes a mystification of the commodity by insisting on the aloof independence of both labor and its products. Thus, Burney uses the apparent autonomy of things——which Marx decries——as a means to argue for the autonomy of the makers of those things.

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