scholarly journals Conversación con el profesor Alfonso Rodríguez Gutiérrez de Ceballos, catedrático de Historia del Arte

Imafronte ◽  
2020 ◽  
pp. 1-12
Author(s):  
Concepción De la Peña Velasco
Keyword(s):  
Art History ◽  
Research Career ◽  
Teaching And Research ◽  
New Foundations ◽  
Baroque Art ◽  
History Of ◽  
Spanish Art ◽  
The 1960S ◽  
The University ◽  
Insight Into

El profesor Rodríguez Gutiérrez de Ceballos es una figura clave en el ámbito de la Historia del Arte Barroco. De sólida formación e impecable trayectoria docente e investigadora, comenzó a publicar en los años sesenta. Las respuestas a las preguntas formuladas en esta entrevista permiten aproximarse a una etapa histórica de importantes cambios en la disciplina, con figuras eminentes que sentaron nuevas bases para el estudio de la Historia del Arte Español. El profesor Rodríguez Gutiérrez de Ceballos habla de su familia, de su infancia en Salamanca, de sus estudios universitarios, de sus maestros, de sus compañeros y de su vínculo con conocidos hispanistas. Comenta sus aportaciones más destacadas y su reciente nombramiento como doctor honoris causa por la Universidad de Murcia. Concluye con un mensaje de ánimo para los que comienzan. Professor Rodríguez Gutiérrez de Ceballos is a key figure in the field of Baroque Art History. With a solid background and an impeccable teaching and research career, he began publishing in the 1960s. His answers to the questions raised in this interview provide an insight into a historic moment of important changes in the discipline and eminent figures who laid new foundations for the study of the History of Spanish Art. Professor Rodríguez Gutiérrez de Ceballos talks about his family, his childhood in Salamanca, his university studies, his teachers and colleagues and their links to renowned Hispanists. He comments on his best known contributions and his recent appointment as doctor honoris causa by the University of Murcia. It concludes with a message of encouragement for those starting in the profession.

scholarly journals JÓZEF POKLEWSKI-KOZIEŁŁ (21 April 1937–21 May 2019)

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 267-272
Author(s):  
Michał F. Woźniak
Keyword(s):  
Art History ◽  
Doctoral Dissertation ◽  
Scientific Career ◽  
History Of Art ◽  
Baroque Art ◽  
History Of ◽  
Nicolaus Copernicus ◽  
Doctoral Dissertations ◽  
The University ◽  
Scientific Life

On 27 May 2019, we bid farewell to Józef Poklewski, a trusted Colleague and Friend, professor at the Nicolaus Copernicus University (UMK) in Toruń. Born in Kowalewo in the Vilnius Region, following WWII, orphaned by his father Władysław, he moved to Giżycko with his mother Emilia, with whom he felt a strong bond until the very last days. This was his individual feature: the long-lasting character of and reliability in relationships. Following the studies in history of art at the University of Poznań, he became assistant lecturer at UMK, with which he was bonded throughout all of his academic and scientific career. He remained strongly influenced by his teacher and mentor Gwidon Chmarzyński, professor at both universities. In his research Poklewski initially concentrated on Baroque art (doctoral dissertation on the Marian Jesuit Sanctuary at Święta Lipka), gradually more intensely focusing on the topic of the history of art and artistic life, as well as education in art, history of art, and conservation in Vilnius (post-doctoral dissertation) and in Toruń. An appreciated and dedicated lecturer, at UMK Józef Poklewski performed the function of the head of the Department of the History of Mediaeval and Modern Art, and of the Director of the Institute of Monument and Conservation Expertise; furthermore, he was the University’s Senate member. Actively participating in the scientific life, he was tutor of graduate theses, as well as of doctoral dissertations, reviewing also post-doctoral ones; moreover, he organized scientific conferences. Poklewski strongly committed himself to the activities of the Toruń Scientific Society and the Association of Art Historians (beginning from the Secretary, to the President of the Toruń Branch, member of the Main Board, finally becoming its Deputy President). Furthermore, he sat on Museum Boards: at the National Museum in Gdańsk, District Museum in Toruń, and the Leon Wyczółkowski District Museum in Bydgoszcz. Prof. Józef Poklewski died in Toruń, and was buried there, too.

Becoming the World's Biggest Brewer

2019 ◽  
Author(s):  
Kenneth Bertrams ◽  
Julien Del Marmol ◽  
Sander Geerts ◽  
Eline Poelmans
Keyword(s):  
Local Environment ◽  
Success Story ◽  
Beer Industry ◽  
National Market ◽  
The World ◽  
History Of ◽  
Nineteenth And Twentieth Centuries ◽  
The 1960S ◽  
Global Company ◽  
Insight Into

AB InBev is today’s uncontested world leader of the beer market. It represents over 20 per cent of global beer sales, with more than 450 million hectolitres a year flowing all around the world. Its Belgian predecessor, Interbrew, was a success story stemming from the 1971 secret merger of the country’s two leading brewers: Artois and Piedboeuf. Based on first-hand material originating from company and private archives as well as interviews with managers and key family actors, this is the first study to explore the history of the company through the nineteenth and twentieth centuries.The story starts in the mid-nineteenth century with the scientific breakthroughs that revolutionized the beer industry and allowed both Artois and Piedboeuf to prosper in a local environment. Instrumental in this respect were the respective families and their successive heirs in stabilizing and developing their firms. Despite the intense difficulties of two world wars in the decades to follow, they emerged stronger than ever and through the 1960s became undisputed leaders in the national market. Then, in an unprecedented move, Artois and Piedboeuf secretly merged their shareholding in 1971, though keeping their operations separate until 1987 when they openly and operationally merged to become Interbrew. Throughout their histories Artois, Piedboeuf, and their successor companies have kept a controlling family ownership. This book provides a unique insight into both the complex history of these three family breweries and their path to becoming a prominent global company, and the growth and consolidation of the beer market through the nineteenth and twentieth centuries.

scholarly journals The Psychoprophylactic Method of Painless Childbirth in Socialist Czechoslovakia: from State Propaganda to Activism of Enthusiasts

2016 ◽  
Vol 60 (4) ◽  
pp. 534-556 ◽  
Author(s):  
Ema Hrešanová
Keyword(s):  
Pain Relief ◽  
Scientific Method ◽  
Communist Regime ◽  
The West ◽  
Medical Journals ◽  
History Of ◽  
English Speaking ◽  
The 1960S ◽  
Pharmacological Method ◽  
Insight Into

This paper explores the history of the ‘psychoprophylactic method of painless childbirth’ in socialist Czechoslovakia, in particular, in the Czech and Moravian regions of the country, showing that it substantially differs from the course that the method took in other countries. This non-pharmacological method of pain relief originated in the USSR and became well known as the Lamaze method in western English-speaking countries. Use of the method in Czechoslovakia, however, followed a very different path from both the West, where its use was refined mainly outside the biomedical frame, and the USSR, where it ceased to be pursued as a scientific method in the 1950s after Stalin’s death. The method was imported to Czechoslovakia in the early 1950s and it was politically promoted as Soviet science’s gift to women. In the 1960s the method became widespread in practice but research on it diminished and, in the 1970s, its use declined too. However, in the 1980s, in the last decade of the Communist regime, the method resurfaced in the pages of Czechoslovak medical journals and underwent an exciting renaissance, having been reintroduced by a few enthusiastic individuals, most of them women. This article explores the background to the renewed interest in the method while providing insight into the wider social and political context that shaped socialist maternity and birth care in different periods.

Our Rightful Place

2020 ◽  
Author(s):  
Terry L. Birdwhistell ◽  
Deirdre A. Scaggs
Keyword(s):  
Women Students ◽  
The United States ◽  
University Of Kentucky ◽  
Campus Environment ◽  
Rightful Place ◽  
Women's Culture ◽  
History Of ◽  
The 1960S ◽  
The University ◽  
The Impact

Since women first entered the University of Kentucky (UK) in 1880 they have sought, demanded, and struggled for equality within the university. The period between 1880 and 1945 at UK witnessed women’s suffrage, two world wars, and an economic depression. It was during this time that women at UK worked to take their rightful place in the university’s life prior to the modern women’s movement of the 1960s and beyond. The history of women at UK is not about women triumphant, and it remains an untidy story. After pushing for admission into a male-centric campus environment, women created women’s spaces, women’s organizations, and a women’s culture often patterned on those of men. At times, it seemed that a goal was to create a woman’s college within the larger university. However, coeducation meant that women, by necessity, competed with men academically while still navigating the evolving social norms of relationships between the sexes. Both of those paths created opportunities, challenges, and problems for women students and faculty. By taking a more women-centric view of the campus, this study shows more clearly the impact that women had over time on the culture and environment. It also allows a comparison, and perhaps a contrast, of the experiences of UK women with other public universities across the United States.

Service Learning: The Peace Corps, American Higher Education, and the Limits of Modernist Ideas of Development and Citizenship

2018 ◽  
Vol 58 (4) ◽  
pp. 475-505
Author(s):  
David S. Busch
Keyword(s):  
Higher Education ◽  
Service Learning ◽  
Citizenship Education ◽  
Peace Corps ◽  
Pedagogical Practices ◽  
American Higher Education ◽  
History Of ◽  
The 1960S ◽  
Work Abroad ◽  
The University

In the early 1960s, Peace Corps staff turned to American colleges and universities to prepare young Americans for volunteer service abroad. In doing so, the agency applied the university's modernist conceptions of citizenship education to volunteer training. The training staff and volunteers quickly discovered, however, that prevailing methods of education in the university were ineffective for community-development work abroad. As a result, the agency evolved its own pedagogical practices and helped shape early ideas of service learning in American higher education. The Peace Corps staff and supporters nonetheless maintained the assumptions of development and modernist citizenship, setting limits on the broader visions of education emerging out of international volunteerism in the 1960s. The history of the Peace Corps training in the 1960s and the agency's efforts to rethink training approaches offer a window onto the underlying tensions of citizenship education in the modern university.

scholarly journals The Origins of the Institute for the History and Philosophy of Science and Technology

2017 ◽  
Vol 39 (1) ◽  
pp. 51-73 ◽  
Author(s):  
Philip Enros
Keyword(s):  
Philosophy Of Science ◽  
History Of Science ◽  
Science And Technology ◽  
University Of Toronto ◽  
History Of ◽  
The 1960S ◽  
Programs Of Study ◽  
The University ◽  
Phd Programs

An effort to establish programs of study in the history of science took place at the University of Toronto in the 1960s. Initial discussions began in 1963. Four years later, the Institute for the History and Philosophy of Science and Technology was created. By the end of 1969 the Institute was enrolling students in new MA and PhD programs. This activity involved the interaction of the newly emerging discipline of the history of science, the practices of the University, and the perspectives of Toronto’s faculty. The story of its origins adds to our understanding of how the discipline of the history of science was institutionalized in the 1960s, as well as how new programs were formed at that time at the University of Toronto.

scholarly journals “Das Bild hat einigen historischen Werth und deshalb wird es vielleicht ausgestellt …“ Zum Ausstellungsdebüt Julie Hagens in München: Das Porträt des Freundes und Mentors Moritz Rugendas

2016 ◽  
Vol 12 ◽  
pp. 29
Author(s):  
Christin Conrad
Keyword(s):  
Art History ◽  
Source Material ◽  
The Social ◽  
Educational Situation ◽  
History Of ◽  
Close Cooperation ◽  
Art Community ◽  
Unique Source ◽  
Artistic Career ◽  
Insight Into

The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order.The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.

Who Framed Theatre? The ‘Moment of Change’ in British TV Drama

1999 ◽  
Vol 15 (1) ◽  
pp. 58-74 ◽  
Author(s):  
Madeleine MacMurraugh-Kavanagh ◽  
Stephen Lacey
Keyword(s):  
Cultural Context ◽  
New Technology ◽  
Television Drama ◽  
Doctoral Research ◽  
British Drama ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Moment ◽  
The University

It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.

scholarly journals Answering Huxley: “now” students take a “then” exam

2019 ◽  
Vol 43 (3) ◽  
pp. 397-400
Author(s):  
P. K. Rangachari
Keyword(s):  
Undergraduate Students ◽  
Learning Experience ◽  
Average Score ◽  
Anatomy And Physiology ◽  
University Of Toronto ◽  
Thomas Henry Huxley ◽  
History Of ◽  
Second Year ◽  
The University ◽  
Insight Into

Twenty-eight undergraduate students in a health sciences program volunteered for an exercise in the history of examinations. They had completed a second-year course in anatomy and physiology in which they studied modern texts and took standard contemporary exams. For this historical “experiment,” students studied selected chapters from two 19th century physiology texts (by Foster M. A Textbook of Physiology, 1895; and Broussais FJV. A Treatise on Physiology Applied to Pathology, 1828). They then took a 1-h-long exam in which they answered two essay-type questions set by Thomas Henry Huxley for second-year medical students at the University of London in 1853 and 1857. These were selected from a question bank provided by Dr. P. Mazumdar (University of Toronto). A questionnaire probed their contrasting experiences. Many wrote thoughtful, reflective comments on the exercise, which not only gave them an insight into the difficulties faced by students in the past, but also proved to be a valuable learning experience (average score: 8.6 ± 1.6 SD).

Gilles Deleuze

2019 ◽  
Author(s):  
Paul Patton ◽  
Jing Yin
Keyword(s):  
Gilles Deleuze ◽  
Early Period ◽  
Respiratory Illness ◽  
Felix Guattari ◽  
Francis Bacon ◽  
Doctoral Studies ◽  
History Of ◽  
The 1960S ◽  
A Minor ◽  
The University

Gilles Deleuze was one of the most important French philosophers of the second half of the 20th century. Born in 1925, he studied philosophy in Paris at the Lycée Carnot and the Sorbonne during the Second World War, passing the agrégation in 1949. He was trained in the history of philosophy by Ferdinand Alquié, Georges Canguilhem, and Jean Hippolyte, among others, and his early works were mostly monographs on individual philosophers, including Hume (Empiricism and Subjectivity, 1991 [1953]), Nietzsche (Nietzsche and Philosophy, 1983 [1962]), Kant (Kant’s Critical Philosophy, 1983 [1963]), and Bergson (Bergsonism, 1988 [1966]). He also published a book on Proust during this early period, which signaled a lifelong preoccupation with literature (Proust and Signs: The Complete Text, 2000 [1964]). He published essays on Sacher-Masoch (“Coldness and Cruelty,” in Masochism: Coldness and Cruelty by Gilles Deleuze and Venus in Furs by Leopold von Sacher-Masoch, 1991 [1967]), Beckett, T. E. Lawrence, Melville, and Whitman (collected in Essays Critical and Clinical, 1997 [1993]). The end of this early period saw the publication of Deleuze’s doctoral studies, Difference and Repetition (1994 [1968]) and Expressionism in Philosophy: Spinoza (1990 [1968]), followed by The Logic of Sense (1990 [1969]). Deleuze’s metaphysics of difference intersected at some points with Derrida’s philosophy, but also departed from it in that Deleuze saw his practice of philosophy as straightforwardly metaphysical and constructive rather than deconstructive. In the 1960s, Deleuze taught at the University of Clermont-Ferrand. In 1969, at Foucault’s invitation, he took up a post at the experimental University of Paris 8 at Vincennes (later St. Denis), where he taught until his retirement in 1987. His encounter with Félix Guattari in the aftermath of May 1968 led to their two coauthored volumes under the general title Capitalism and Schizophrenia: Anti-Oedipus (1983 [1972]), followed by A Thousand Plateaus (1987 [1980]). This work produced a number of concepts that have been taken up in diverse fields across the humanities and social sciences. They also coauthored Kafka: For a Minor Literature (1986 [1975]), and a decade later they produced a reflective account of their practice of philosophy: What Is Philosophy? (1994 [1991]). A final phase of Deleuze’s work began after the publication of A Thousand Plateaus, and continued until his death in 1995. During this period he published an essay on the painting of Francis Bacon (Francis Bacon: The Logic of Sensation, 2003 [1981]) and two short monographs: Foucault (1988 [1986]) and The Fold: Leibniz and the Baroque (1993 [1988]). He also published a very influential two-volume study of the nature and history of cinema: Cinema 1: The Movement-Image (1986 [1983]) and Cinema 2: The Time-Image (1989 [1985]). As noted above, a collection of his literary philosophical essays, Essays Critical and Clinical, appeared in 1993 before being translated into English in 1997. After a long period of respiratory illness, Deleuze committed suicide in November 1995.

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