scholarly journals Gesprochenes Schriftdeutsch im Schwäbischen.

2019 ◽  
Vol 98 (5) ◽  
pp. 219-234
Author(s):  
Brigitte Ganswindt
Keyword(s):  
Nineteenth Century ◽  
Partial Identity ◽  
Modern Methods ◽  
Written Sources

The article demonstrates how to reconstruct an oral historical variety by using modern methods and different written sources. The phonetic-phonological phenomena of Regional High German in the nineteenth century are reconstructed for Swabia. Then, a method is presented for identifying mistakes (schriftsprachorientierte Fehlschreibungen) in Georg Wenker’s Sprachatlas des Deutschen Reichs (1888–1923). These mistakes are based on the partial identity of dialect and Regional High German, and can be used to reconstruct the oral historical variety for the nineteenth century.

Indigenous Written Sources for the History of Bonny

1989 ◽  
Vol 16 ◽  
pp. 185-196
Author(s):  
Susan M. Hargreaves
Keyword(s):  
Nineteenth Century ◽  
Niger Delta ◽  
Colonial History ◽  
Additional Material ◽  
Court Records ◽  
General Terms ◽  
Early Colonial ◽  
History Of ◽  
Similar Character ◽  
Written Sources

It is well known that indigenous contemporary written documentation exists for the precolonial and early colonial history of some of the coastal societies of South-Eastern Nigeria. The best known example is Old Calabar, for which there exists most notably the diary of Antera Duke, covering the years 1785-88, a document brought from Old Calabar to Britain already during the nineteenth century. More recently John Latham has discovered additional material of a similar character still preserved locally in Old Calabar, principally the Black Davis House Book (containing material dating from the 1830s onwards), the papers of Coco Bassey (including diaries covering the years 1878-89), and the papers of E. O. Offiong (comprising trade ledgers, court records, and letter books relating to the period 1885-1907). In the Niger Delta S. J. S. Cookey, for his biography of King Jaja of Opobo, was able to use contemporary documents in Jaja's own papers, including correspondence from the late 1860s onwards. In the case of the neighboring community of Bonny (from which Jaja seceded to found Opobo after a civil war in 1869), while earlier historians have alluded to the existence of indigenous written documentation, they have done so only in very general terms and without any indication of the quantity or nature of this material.

From the Sacred to the Secular: Ethnic Identity and Monetary Value embodied in Jewish Ceremonial Textiles according to the Pinkassim of Amsterdam

Images ◽  
2013 ◽  
Vol 7 (1) ◽  
pp. 22-34
Author(s):  
Julie-Marthe Cohen
Keyword(s):  
Nineteenth Century ◽  
Ethnic Identity ◽  
Historical Context ◽  
Market Value ◽  
Material Objects ◽  
The Public ◽  
Religious Ritual ◽  
Monetary Value ◽  
The Social ◽  
Written Sources

In the last quarter of the nineteenth century the Jewish intelligentsia developed a historical and scholarly interest in material objects of Jewish culture. In new exhibitions they organized, ritual objects that had been associated exclusively with religious observance, were moved to the public domain and divested of their purely religious ritual function. In a secular setting, Judaica became an expression of Jewish ethnic identity defined by its surrounding and religion, and evoked a new appreciation as objets d’art that implicitly assumed a monetary market value. This article examines whether this expression of ethnic identity and aesthetic and monetary appreciation developed first in the context of nineteenth-century secularism. By presenting three case studies based on written sources, I argue that ethnic and monetary value were already manifest in prior centuries and underline the value of written sources for an understanding of the social and cultural historical context of Jewish ceremonial objects.

Mechanical Engineering in the Chemical Industry

1949 ◽  
Vol 160 (1) ◽  
pp. 279-289 ◽  
Author(s):  
F. H. Bramwell
Keyword(s):  
Nineteenth Century ◽  
Chemical Industry ◽  
Mechanical Engineering ◽  
Early Years ◽  
Engineering Technique ◽  
Wide Range ◽  
Modern Methods ◽  
Prime Movers

The author reviews briefly the close connexion of an important section of the chemical industry with the Liverpool and the Merseyside areas, from the early years of the nineteenth century, and then discusses the changes that have taken place in these industries due largely to the development of engineering technique and materials of construction. Owing to the wide range of products and processes covered by the chemical industry, the paper has been limited in scope to those branches of the heavy chemical industry that are established and flourishing on Merseyside. Modern methods of performing various operations are compared with methods used in the early days of the industry, the comparison being illustrated by photographs. Prime movers, pumps, packages, materials of construction, instrumentation, and workshop facilities are then considered, and finally emphasis is placed on the scope and opportunities that exist in the industry for mechanical engineers.

Outline, Brushwork, and the Epigraphic Aesthetic in Huang Yi's Engraved Texts of the Lesser Penglai Pavilion (1800)

2020 ◽  
Vol 70 (1) ◽  
pp. 23-49
Author(s):  
Michael J. Hatch
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Stone Monuments ◽  
Material Condition ◽  
The World ◽  
Modern Methods ◽  
Late Nineteenth ◽  
Two Stages ◽  
Engineering Schools

Abstract In 1800 Huang Yi published Engraved Texts of the Lesser Penglai Pavilion, reproducing his collection of antique rubbings as well as the later inscriptions added to them by scholars. The original rubbings were made from ancient inscribed stone monuments, and the book's immediate audience was the aficionados of such objects, scholars of epigraphy and evidential research. A technique that exactly conveyed the material condition of those aged rubbings was important to these scholars. Huang Yi chose the outline method called shuanggou, which traced the broken boundaries between figure and ground. This old method for copying calligraphy usually involved two stages—outlining and filling in—so that the final product reproduced a simulacrum of the original calligraphy. Huang Yi left his reproductions at the outline stage, however, which resulted in strange, warped, and broken figures that merged figure and ground, calling attention to the illegibility of many of the characters reproduced in the rubbings and evacuating the calligraphy of brushwork. This essay analyzes the figures of Engraved Texts within the context of a broader epigraphic aesthetic that permeated calligraphy and painting circa 1800. It goes on to suggest that Huang Yi's choice of shuanggou outlines, while firmly rooted in an epigraphic obsession with the material past, also marked the horizon of a changing attitude toward brushwork, and had more in common with modern methods of visualizing the world, such as the drafting techniques later implemented in engineering schools during the modernizing reforms of the late nineteenth century.

Energy and railway workshops: An archaeology of the FEPASA complex (Jundiaí, Brazil)

2018 ◽  
Vol 39 (2) ◽  
pp. 213-235 ◽  
Author(s):  
Juan M Cano Sanchiz
Keyword(s):  
Nineteenth Century ◽  
Power Supply ◽  
Energy Production ◽  
Technological Evolution ◽  
Archaeological Methods ◽  
Production Distribution ◽  
Transport Industry ◽  
Over Time ◽  
Written Sources

Railway workshops overlapped the fields of energy and transport and witnessed profound technological evolution over time due to changes in energy production, distribution and consumption. Here, I use archaeological methods to investigate the railway workshop owned by the Companhia Paulista de Estradas de Ferro in Jundiaí (Brazil), in operation from the end of the nineteenth century to 1998 and today known as FEPASA Complex. In doing so, I aim to highlight the role of energy and power supply in the evolution of railway workshops, and how this influenced its organization of space and labour. I state that, even when written sources are available and abundant, archaeology can offer an important angle to understand the transport industry.

The Origins of Fanagalo

1989 ◽  
Vol 4 (2) ◽  
pp. 211-240 ◽  
Author(s):  
Rajend Mesthrie
Keyword(s):  
Nineteenth Century ◽  
Viable Alternative ◽  
Eastern Cape ◽  
East Indian ◽  
Indian Immigrants ◽  
Indian Origin ◽  
Sugar Plantations ◽  
Linguistic Backgrounds ◽  
Origin Hypothesis ◽  
Written Sources

This paper examines, and refutes, the currently most popular hypothesis concerning the origin of Fanagalo, namely, that it arose on the plantation fields of Natal among indentured East Indian migrants who arrived there from 1860 onwards. Can a pidgin be initiated by a group of migrants from differing linguistic backgrounds in a plantation situation, and still remain in widespread use without showing any substrate influences? If the Indian origin hypothesis is correct, this would indeed be the case: a "crystallized" southern African Pidgin, stable for about a hundred years, would have been created in the sugar plantations of Natal by migrant indentured Indian workers without any tangible influences from any of the five or so Indic and Dravidian languages involved. However, structural and lexical evidence indicates otherwise. Written sources (a first-hand account by an English settler from about 1905, and two published accounts by an English missionary) suggest that the use of Fanagalo in Natal predated the arrival of Indian immigrants by at least ten years. Regarding the origins of Fanagalo, one other viable alternative is examined — the Eastern Cape in the early 1800s. The conclusion is that the most likely site for Fanagalo's genesis was Natal in the mid-nineteenth century.

scholarly journals Waar is Abraham dan?

2001 ◽  
Vol 22 (2) ◽  
pp. 326-340
Author(s):  
J.H. Ie Roux
Keyword(s):  
Nineteenth Century ◽  
Oral Tradition ◽  
Near Eastern ◽  
History Of ◽  
Written Sources

This article deals with some aspects of the historical Abraham. Reference is made to an Afrikaans author, Karel Schoeman, and his novel, uVerliesfontein". In this work Schoeman attempts to enter the history of a town and its people. This, however, is not possible and he therefore says that history is another country. A country which is totally inaccessable. It is, however, also true of Abraham. Since the nineteenth century it has been emphasized that we can never determine the historical Abraham. There are no reliable written sources about him (Wellhausen). Even if one tries to get behind the sources and determine the oral tradition (like Gunkel), Abraham still evades one. Through markers in the text and ancient near eastern parallels some scholars even sought to date and describe the era of Abraham. These attempts also failed. It is argued that we should rather refrain from dating Abraham. This, however, is not the end of the story. We can still try to determine how Abraham was interpreted in faith through the ages. In this regard Von Rad's usage of Usage" can be of great assistance. In a next article this topic is discussed futher.

The Devotional Image in Late Medieval England

2018 ◽  
Author(s):  
Kate Giles ◽  
Aleksandra McClain
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
Stained Glass ◽  
Art Gallery ◽  
Late Medieval ◽  
The Gaze ◽  
Parish Church ◽  
Late Medieval England ◽  
Written Sources ◽  
Votive Offerings

In the later Middle Ages, the parish churches of England were populated not simply by parishioners and clergy, but by a community of images: paintings on the walls, depictions in stained glass, and sculptures carved in wood, alabaster, or metal. Lit by beeswax and tallow candles and adorned with gifts of rosaries, textiles, and votive offerings, they held the gaze of worshippers, forming a series of devotional foci within the parish church. In England, most of these images have disappeared, swept away by the reforms and iconoclasm of the sixteenth and seventeenth centuries. They survive as references in contemporary written sources, in decorative schemes exposed during nineteenth-century restoration works, and in museum and art gallery collections. This chapter considers the evidence and assesses the archaeological contribution to current understandings of imagery in medieval religion and belief.

scholarly journals Römers’ House in Bokšto Street, Vilnius, in Edward Mateusz Römer’s Life and Creative Work

Menotyra ◽  
2020 ◽  
Vol 27 (1) ◽  
Author(s):  
Rūta Janonienė
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Masonry Buildings ◽  
Creative Work ◽  
Cultural Life ◽  
Livestock Buildings ◽  
Northern Side ◽  
The Right ◽  
Written Sources

The article presents a hitherto unknown painting by Edward Mateusz Römer (1848–1900), a representative of a painters’ dynasty from Vilnius. The painting, which is currently referred to as “Spring in Vilnius”, features the house of the artist’s family in Vilnius. In order to fully evaluate the iconography of the work, considerable attention is given to the object of the work itself. The canvas features the courtyard and northern-side buildings of Römersʼ house in Vilnius, at the intersection of Savičiaus and Bokšto streets. Based on various written sources (house descriptions in tariff books, egodocuments of the Römer family), the development of the possession over the years and the functioning of the house in the nineteenth century are reconstructed. Also, changes in the structure of the living spaces are revealed, including the localisation of various premises and specification of the whereabouts of E. M. Römerʼs painting studio within the building complex. Throughout the nineteenth century, Römer’s house in Bokšto Street in Vilnius was the centre of the family’s social and cultural life. The main residential masonry buildings were mostly concentrated in the northern and eastern parts of the courtyard, whereas the wooden residential and livestock buildings were on the opposite side of the courtyard, to the right of the gate. After 1948, all the buildings in the southern part of the house were destroyed. Only the residential masonry houses consisting of three buildings located along the northern and eastern boundaries of the possession have survived to this day. The analysis of the origin revealed that the masonry in the northern part, which almost reached the top of the walls, dates back to 1792–1808. The reconstruction could have been related to Michał Józef Römer’s marriage in 1799. Most probably the “illusory” wall imitating the facade was built during the same year. At the end of the eighteenth and the beginning of the nineteenth century, the eastern building on the hillside was the main building of the house. According to the data of 1812, by that time M. J. Römer’s apartment was in the more spacious part of the northern building (on the second floor), but from 1816 to1821, seven rooms of this apartment, rearranged according to the design of the architect Joseph Poussier, were leased to “Gorliwy Litwin”, the Masonic Lodge of Vilnius. In 1816, Michał Józef Römer and his wife Rachel moved back to the eastern building where they lived until M. J. Römer’s death. Their children with families lived in the apartments of the northern building, which were reconstructed between 1834 and 1837. From the end of eighteenth century until 1863, the first floor of the more spacious northern building, the so called “courtyard building” located away from the street, served as a stable and a carthouse. Later this part of the building was reconstructed, served as a painting studio of Adam Szemesz until 1864, and was E. M. Römer’s painting studio after 1877. The courtyard was a very important part of the complex of buildings. Part of it was occupied by an orchard and a small vineyard. After 1863, E. J. Römer decided to arrange the so-called “grove” of decorative plants for walking and relaxation. In 1850, a masonry studio for the painter Kanuty Rusiecki (1800–1860) was built in the courtyard of Römers’ house. For some time, this studio was also used by the painter Jan Zenkiewicz (1825–1888). Unfortunately, the building did not survive to this day. In the creative legacy of E. M. Römer, the paintings featuring the house in Bokšto Street are especially valuable. The painter concentrated on these motives during the last decade of his life, especially before 1897, when he mainly resided in Vilnius. E. M. Römer immortalised part of the courtyard and the northern buildings in the painting of 1893, which is now called “Spring in Vilnius”. Due to the painting quality of the work and its historical/iconographic value, this canvas is attributed to E. M. Römer’s most important extant works. In all likelihood, this painting is identical to the canvas “Under the Poplars” mentioned in the literature; in 1896, it was donated for the establishment of Jan Matejko’s museum in Krakow.

Afrika-Archiv: A New Series of the Frobenius Institute for the Purpose of Publishing Source Material

1997 ◽  
Vol 24 ◽  
pp. 437-439
Author(s):  
Beatrix Heintze
Keyword(s):  
Nineteenth Century ◽  
Great Difficulty ◽  
Source Material ◽  
The Other ◽  
Oral Traditions ◽  
African History ◽  
Public And Private ◽  
Self Confidence ◽  
History Of ◽  
Written Sources

“[D]as Wirkungsvolle wird gepflegt, die Gewissenhaftigkeit schwindet; an Stelle der Fähigkeit zu bergründen, der Kraft zu überzeugen, tritt die Sicherheìt im Behaupten.”[T]hat what impresses is cultivated, conscientiousness dwindles; the capability to explain, the power to convince are replaced by self-confidence in asserting.There is nothing more absurd—yet also nothing more common—than a scholarly lifetime of publishing based on materials to which no one else has access.The series “Afrika Archiv” (“Africa Archives”) was founded recently with the aim of publishing source material referring to the history and anthropology of Africa. In this connection the term “source material” shall be considered in a very broad sense. Thus, beside the usual library and other written sources, as well as written records of oral traditions, for instance, even editions of ethnographic collections or photographic documentation will be taken into consideration. African scholars will be able to publish material from their own countries to which we Europeans and Americans have only difficult access. Western scholars, on the other hand, could publish sources from public and private European or American archives, museums, or even widely dispersed articles in periodicals and newspapers on African history of the nineteenth century which are available only with great difficulty and expenditure of time. As a reviewer once commented, such source editions will still continue to be valued when contemporary interpretations have already long fallen into oblivion.Endeavors to record systematically varied sources on the history of the continent, the cultural and scientific history of Africa, and to make the essentials generally available to the scientific public still appear inadequate.

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