scholarly journals The First Flora of Poland

2020 ◽  
pp. 29-41
Author(s):  
Piotr Köhler
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Flowering Plants ◽  
European Countries ◽  
Wild Plants ◽  
Early 19Th Century ◽  
History Of ◽  
Western European

A flora is a publication containing a list of species of wild plants of a given region along with the information on their localities, descriptions of their morphology, and keys for their determination. Johannes Thal’s Sylva Hercynia is considered the first flora ever published. From the 18th century onwards, floras of entire Western European countries were being published. Opisanie roslin w prowincyi W. X. L. naturalnie rosnących według układu Linneusza (Description of plants in the province of the G[rand] D[uchy of] L[ithuania] naturally growing according to the Linnaeus system) by Stanisław Bonifacy Jundziłł was printed in 1791. It includes 1,297 species, comprising 1,052 flowering plants, 85 mosses, 64 fungi, 49 lichens, 34 ferns and 13 algae, and contains 97 localities from the then Polish part of the Polish-Lithuanian Commonwealth and 198 from the then Lithuanian one. The species are arranged according to the Linnaeus system, and their descriptions are concise. Contrary to its title, Opisanie roslin covers both the territories of Lithuania and Poland, which is why it should also be considered the earliest modern flora of Poland. Opisanie roslin played an important role in the history of Polish botany, especially in the development of floristics in Poland and Lithuania in the early 19th century.

Historicism

2020 ◽  
Author(s):  
Mari Hvattum
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Cultural Development ◽  
Early 19Th Century ◽  
Cultural Conditions ◽  
Related Idea ◽  
History Of ◽  
Cultural Historian ◽  
The 19Th Century ◽  
Art And Architecture

In its most general sense, historicism refers to a new historical consciousness emerging in late-18th- and early-19th-century Europe. This novel “historical-mindedness,” as the cultural historian Stephen Bann has called it, sprung from a recognition that human knowledge and human making are historically conditioned and must be understood within particular historical contexts. Historicism inspired new interest in the origin and development of cultural phenomena, not least art and architecture. When used in relation to architecture, historicism usually refers to the 19th-century notion that architecture is a historically dynamic and relative phenomenon, changing with time and circumstance. This in contrast to 18th-century classicism which tended to uphold the classical tradition as a universal ideal and a timeless standard. Historicism in architecture often entails Revivals of various kinds, i.e., the reference to or use of historical styles and motifs. The term is related to concepts such as eclecticism, revivalism, and relativism. In architectural history, an early anticipation of a historicist way of thinking is Johann Joachim Winckelmann’s History of the Art of Antiquity (1764). While still idealizing Greek art, Winckelmann also analyzed Egyptian, Etruscan, Phoenician, and Persian art and architecture, paying close attention to the historical conditions in which each of these cultures emerged. This new attentiveness to the relationship between cultural conditions and artistic expression lies at the heart of historicism, as does the related idea that architecture has the capacity to represent an epoch or a nation, forming a veritable index of cultural development. There is a strong organicist aspect to historicism, i.e., a tendency to think about cultural phenomena as organic wholes that evolve according to laws.

scholarly journals Paganate kookidest seakõrvadeni. Transkultuuriline rännak ühe toidu jälgedes läbi sajandite ja kokaraamatute

2017 ◽  
pp. 16-33
Author(s):  
Inna Põltsam-Jürjo
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Middle Ages ◽  
18Th Century ◽  
Cultural Exchange ◽  
Food History ◽  
Early 19Th Century ◽  
History Of ◽  
The Common ◽  
19Th And 20Th Century

From “heathens’ cakes” to “pig’s ears”: tracing a food’s journey across cultures, centuries and cookbooks It is intriguing from the perspective of food history to find in 19th and 20th century Estonian recipe collections the same foods – that is, foods sharing the same names – found back in European cookbooks of the 14th and 15th centuries. It is noteworthy that they have survived this long, and invites a closer study of the phenomenon. For example, 16th century sources contain a record about the frying of heathen cakes, a kind of fritter, in Estonia. A dish by the same name is also found in 18th and 19th century recipe collections. It is a noteworthy phenomenon for a dish to have such a long history in Estonian cuisine, spanning centuries in recipe collections, and merits a closer look. Medieval European cookbooks listed two completely different foods under the name of heathen cakes and both were influenced from foods from the east. It is likely that the cakes made it to Tallinn and finer Estonian cuisine through Hanseatic merchants. It is not ultimately clear whether a single heathen cake recipe became domesticated in these parts already in the Middle Ages. In any case, heathen cakes would remain in Estonian cuisine for several centuries. As late as the early 19th century, the name in the local Baltic German cuisine referred to a delicacy made of egg-based batter fried in oil. Starting from the 18th century, the history of these fritters in Estonian cuisine can be traced through cookbooks. Old recipe collections document the changes and development in the tradition of making these cakes. The traditions of preparing these cakes were not passed on only in time, but circulated within society, crossing social and class lines. Earlier known from the elites’ culture, the dish reached the tables of ordinary people in the late 19th and early 20th century. In Estonian conditions, it meant the dish also crossed ethnic lines – from the German elite to the Estonian common folk’s menus. In the course of adaptation process, which was dictated and guided by cookbooks and cooking courses, the name of the dish changed several times (heydenssche koken, klenätid, Räderkuchen, rattakokid, seakõrvad), and changes also took place in the flavour nuances (a transition from spicier, more robust favours to milder ones) and even the appearance of the cakes. The story of the heathen cakes or pig’s ears in Estonian cuisine demonstrates how long and tortuous an originally elite dish can be as it makes its way to the tables of the common folk. The domestication and adaptation of such international recipes in the historical Estonian cuisine demonstrates the transregional cultural exchange, as well as culinary mobility and communication.

scholarly journals SUCCESSION OF COMMERCIAL AND INDUSTRIAL PROPERTY IN LATE IMPERIAL RUSSIA: LAW AND PRACTICE

2021 ◽  
Vol 72 (3) ◽  
pp. 116-124
Author(s):  
Irina V. Potkina ◽  
Keyword(s):  
19Th Century ◽  
Point Of View ◽  
European Countries ◽  
Entrepreneurial Activity ◽  
Industrial Property ◽  
Early 19Th Century ◽  
Legal Norms ◽  
Western European ◽  
The Government ◽  
Civil Laws

The article deals with some issues of elaboration of the most important part of civil laws connected with property relations in the field of entrepreneurship. In the early 19th century, Russia was in the process of forming corporate legislation, which put the empire on a par with the advanced Western European countries from this point of view. That fact contributed to the broader development of entrepreneurship, which could legally be carried out in various forms. At the same time, work was carried out on the improvement of such a legal category as the institution of property, on rethinking and generalization of the previous national experience. The legislative activity of the government in the second half of the 19th century focused on the problems of adapting the current norms of law to the peculiarities of the socio-economic development of the country, as well as filling the gaps caused by the abolition of serfdom. The article shows the implementation of legal norms in everyday commercial life using the typical examples of some Russian and foreign joint-stock companies. Ultimately, Russia’s legislation was brought in line with the norms in force in this area in Western European countries. Based on the factual material, contained in various published sources and archival documents, the author concludes that Russian laws created favorable conditions for entrepreneurial activity and ensured the protection of the property rights of merchants and manufacturers, allowing them to maintain succession in business legal relationship.

scholarly journals Le Portugal dans le livre de Geographie pour la jeunesse au XVIIIe Siècle et au début do XIXe

Finisterra ◽  
2012 ◽  
Vol 35 (70) ◽  
Author(s):  
Bernard Huber
Keyword(s):  
Young People ◽  
19Th Century ◽  
18Th Century ◽  
European Countries ◽  
Early 19Th Century ◽  
Xviiie Siècle ◽  
Xviiie Siecle

PORTUGAL IN GEOGRAPHY BOOKS FOR THE YOUNG IN THE 18TH CENTURYAND EARLY 19TH CENTURY. It is a little known fact but since the 18th century a small number of young people in most European countries have had access to many books on geography. What is Portugal’s position in this type of literature? What image do the authors want to give children through their texts and illustrations? This note seeks to find answers to these questions.

De trekvliet en de maliebaan in Leiden

2021 ◽  
Vol 6 (3) ◽  
pp. 306-317
Author(s):  
Martijn Storms
Keyword(s):  
The Netherlands ◽  
19Th Century ◽  
18Th Century ◽  
Early 19Th Century ◽  
Content Type ◽  
History Of ◽  
The Hague ◽  
City Walls ◽  
The University ◽  
The City

Abstract The Trekvliet canal and the pall-mall at Leiden Pall-mall was a popular lawn game in the 17th century. The oldest pall-mall in the Netherlands was built in The Hague in 1606. Leiden was one of the universities with such a facility. In 1581, Leiden University already had several courts for ball sports. Some manuscript maps show their locations outside the city walls. The building of a pall-mall in Leiden coincided with the digging of the canal for horse-drawn boats to The Hague and Delft. The first plans for a boat canal probably date from around 1633 and the canal was completed in 1637. Alongside, between the boat canal and the Leiden city walls, a pall-mall was built, about 700 meters in length. The university bought some plots of land from the Leiden orphanage, on which the lawn was built. The history of the building of the boat canal and pall-mall is documented in several property maps and town plans that have survived. In the university’s archive, a concept of regulations of the Leiden pall-mall is kept, which gives insight in how the game had to be played and into the rules that the students had to adhere to. The pall-mall remained in use until at least the end of the 18th century. On the cadastral plan from the early 19th century (1811-1832) the strip of land is still owned by the university but indicated as ‘economic garden’ and the heyday of pall-mall was over.

EDUCATIONAL TEXTS FOR HIGH SCHOOL STUDENTS, REALISTS AND CA-DETS OF THE XIX CENTURY: METHODICAL ASPECT

2018 ◽  
Vol 24 (1) ◽  
pp. 105-116
Author(s):  
Sergey Teleshov ◽  
Elena Teleshova
Keyword(s):  
High School ◽  
High School Students ◽  
19Th Century ◽  
18Th Century ◽  
Natural Sciences ◽  
School Students ◽  
Early 19Th Century ◽  
Chemistry Textbooks ◽  
History Of ◽  
Xix Century

Until the end of the 18th century, Russia did not have original chemistry textbooks. Every-body had to use translations, including textbooks of physics, in which there was always a section on chemical phenomena. In the early 19th century domestic textbooks of chemistry appeared. At first they were few. Their undoubted advantage was that they were made by those who directly taught at school. Your attention is invited to the history of textbooks containing information on school chemistry. For the best of them, a brief description is given. Of considerable interest are the methodical views of the authors of first original textbooks. Their approach is quite appropriate in the preparation of modern educational texts on natural Sciences. Key words: school textbooks, 19th century, chemistry methodics, methodical experience.

scholarly journals Petersburg Collection of the ‘Hermetic Library’ of N. I. Novikov as the Heritage of Russian Rosicrucians from Ancient Greece to the 18th Century

2018 ◽  
pp. 663-678
Author(s):  
Yuri E. Kondakov ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Ancient Greece ◽  
Ancient Egypt ◽  
Early 19Th Century ◽  
Overall Design ◽  
Research Division ◽  
Literary Heritage ◽  
History Of

The article gives the first extensive review of the multivolume ‘Hermetic Library.’ It is stored in the Research Division of Manuscripts of the Russian National Library. This collection includes translations from European authors from Ancient Greece to the 18th century. Some manuscripts of the ‘Hermetic Library’ collection were believed by the Order of the Golden and Pink Cross to belong to the legendary Rosicrucians. The Order of the Golden and Pink Cross emerged in the 18th century within the Masonic movement. Until early 19th century the Order, mostly focused on alchemy, developed as a branch of Freemasonry. In 1782 the Order of the Golden and Pink Cross opened its subdivision in Russia. Having survived a number of prohibitions, the organization of Russian Rosicrucians continued until early 20th century. The ‘Hermetic Library’ is the largest literary heritage of Russian Rosicrucians. The ‘Hermetic Library’ was started by educator and book publisher N. I. Novikov in early 19th century. It was Europe’s largest collection of alchemical and Rosicrucian works of the time. The library was to be kept secret and be used for education of the Order members. Two collections of the library fell into hands of different groups of Rosicrucians. The Moscow collection was kept in Arsenyev's family. The Petersburg collection passed from hand to hand; in late 19th century it was put up for sale. Only after 1917 the two collections of the ‘Hermetic Library’ were acquired by libraries of Moscow and St. Petersburg. The study of the St. Petersburg collection shows that it was copied and translated by several Rosicrucians. After Novikov’s death in 1818, two different groups continued the library, and volumes following the 30th differ in content and design. Novikov’s library included manuscripts on the development of alchemy from Ancient Egypt and to 18th century Europe. They included the most important Rosicrucian works. 35 volumes of the St. Petersburg collection include 191 works. The volumes were compiled to insure consistent training of the Order adepts. The article analyses the St. Petersburg collection of the ‘Hermetic library.’ Within the frameworks of an article it is impossible to review the contents every volume. It offers a summary of the history of writing and storage of the library until the 20th century and an overview of the volumes’ design and layout, which allows to judge the overall design of the library. It also compares the St. Petersburg collection and the Moscow one.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

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