scholarly journals Organizacja pracy więźniów w Królestwie Polskim w latach 1815-1867

2018 ◽  
Vol 69 (2) ◽  
pp. 111-135
Author(s):  
Justyna Bieda
Keyword(s):  
19Th Century ◽  
Penal Code ◽  
Public Works ◽  
16Th Century ◽  
Statutory Law ◽  
Penal Codes ◽  
Criminal Legislation ◽  
The 19Th Century ◽  
First Time ◽  
Additional Form

The convicts’ obligation to perform prison labour as an additional form of punishment beyond imprisonment appeared for the first time in the 16th century together with the creation of houses of correction. In the 19th century, statutory law pertaining to labour was regulated in many European penal codes. This concept was also included in the criminal legislation which was in force in the Kingdom of Poland, i.e. in the Penal Code (in forcesince 1818) and in the Code of Major and Correctional Punishments (since 1848). Initially, the work carried out by the prisoners in the Kingdom of Poland was primarily fiscal in nature. The purpose of the labour was for the prisoners to, at least partially, earn a living. However, the penitentiary concepts which began to emerge from the 1930s onwards also started to notice the educational and resocialization value of convict labour. At first, theprisoners were mainly engaged in public works. And later, after 1832, they were put to work in prison workshops and factories. Moreover, they performed services for the benefit of private individuals. The Penal Code obliged the prisoners to work in case of convicts placed in prisons and jails. The Code of Major and Correctional Punishments, which was in force since 1848, maintained the prison labour obligation of the convicts’ sentenced toimprisonment. This additional sanction was connected with the punishment of imprisonment in detention centres and it was also connected with being detained in workhouses or in houses of correction. People sentenced to lighter punishments and those temporarily deprived of liberty were free from penal labour.

Development of the system of punishments without isolation from society in the Russian criminal law until 1917

2019 ◽  
pp. 41-46
Author(s):  
M. M. Cherekhovich
Keyword(s):  
19Th Century ◽  
Death Penalty ◽  
Criminal Law ◽  
State Building ◽  
Public Works ◽  
16Th Century ◽  
Leading Role ◽  
Peter The Great ◽  
The 19Th Century ◽  
Written Sources

The article investigates the process of development of the system of punishments applied without isolation from society in the Russian criminal law during the period from the 9th century till 1917. On the basis of the analysis of the most important written sources of law, the author concludes that deprivation of liberty had not been applied as a type of criminal punishment until the 16th century. The type of punishment under consideration had the features of an ecclesiastical and repentant penalty. The leading role in the system of punishment was assigned to various types of fines, monetary penalties, mutilation (maiming) penalties and death penalty. Sentences alternative to deprivation of liberty were commonly used during the reign of Peter the Great for the purpose of using convicts in state-building facilities. The tendency to punish minor crimes by imposing monetary penalties or public works instead of imprisonment was initiated during the reign of Catherine the Second and was finally outlined by the middle of the 19th century. Until 1917, types of punishment that did not envisaged isolation from society prevailed in the Russian system of criminal penalties.

Bonobos

2018 ◽  
Keyword(s):  
19Th Century ◽  
Historical Data ◽  
Line Drawings ◽  
History Of ◽  
The 19Th Century ◽  
First Time

This is a comprehensive, illustrated catalogue of the 200+ marine chronometers in the collections of Royal Museums Greenwich. Every chronometer has been completely dismantled, studied and recorded, and illustrations include especially commissioned line drawings as well as photographs. The collection is also used to illustrate a newly researched and up-to-date chapter describing the history of the marine chronometer, so the book is much more than simply a catalogue. The history chapter naturally includes the story of John Harrison’s pioneering work in creating the first practical marine timekeepers, all four of which are included in the catalogue, newly photographed and described in minute detail for the first time. In fact full technical and historical data are provided for all of the marine chronometers in the collection, to an extent never before attempted, including biographical details of every maker represented. A chapter describes how the 19th century English chronometer was manufactured, and another provides comprehensive and logically arranged information on how to assess and date a given marine chronometer, something collectors and dealers find particularly difficult. For further help in identification of chronometers, appendices include a pictorial record of the number punches used by specific makers to number their movements, and the maker’s punches used by the rough movement makers. There is also a close-up pictorial guide to the various compensation balances used in chronometers in the collection, a technical Glossary of terms used in the catalogue text and a concordance of the various inventory numbers used in the collection over the years.

scholarly journals Catalogue of the primatological collection of the Torino University

2016 ◽  
Vol 3 (2) ◽  
pp. 3 ◽  
Author(s):  
Mara Calvini ◽  
Maria Stella Siori ◽  
Spartaco Gippoliti ◽  
Marco Pavia
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Great Part ◽  
Type Specimen ◽  
Zoological Garden ◽  
Historical Material ◽  
The 19Th Century ◽  
First Time

The revised catalogue of primatological material stored in the Museo Regionale di Scienze Naturali of Torino and in the Dipartimento di Scienze della Vita e Biologia dei Sistemi of the Università degli Studi di Torino and belonging to the historical material of the Torino University is introduced. The material, 494 specimens belonging to 399 individuals of 122 taxa, is of particular importance since specimens were mainly obtained during the 19th Century and the beginning of the 20th Century. A relevant part of the collection was created by the collaborators of the Museum, among which it is worth to mention F. De Filippi, A. Borelli and E. Festa, while other material came from purchases and donations from private people or the Royal Zoological Garden of Torino. Great part of the specimens is stuffed but also the osteological materials are of particular importance, as many of them derived from the specimens before being prepared and consisting of skulls or more or less complete skeletons. After this revision, the Lectotype and Paralectotypes of <em>Alouatta</em> <em>palliata</em> <em>aequatorialis</em> have been selected, and the type-specimen of the <em>brunnea</em> variety of <em>Cebus</em> <em>albifrons</em> <em>cuscinus</em> has been recognized. In addition, some specimens of particular historical-scientific importance have also been identified and here presented for the first time.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

De windmolen

2020 ◽  
Vol 5 (1) ◽  
pp. 17-32
Author(s):  
JOS BAZELMANS
Keyword(s):  
The Netherlands ◽  
19Th Century ◽  
Turn Of The Century ◽  
The 19Th Century ◽  
First Time ◽  
At Home

The windmill. The origins of a Dutch icon The windmill is an icon of the Netherlands. But when did this instrument acquire this symbolic role at home and abroad? After all, mills are also common outside of the Netherlands. In this essay, it is argued that during the second half of the 19th century, foreigners systematically identified the Netherlands and the windmill for the first time. More than in other countries, there was a varied use of mills in the Netherlands, large and robust mills and clusters of industrial mills. Within the Netherlands itself, development towards an iconic position is only visible around the turn of the century when the mill turned out to be a plus in tourist recruitment abroad and when mills were slowly disappearing from the landscape.

scholarly journals "However, the language here is changing gradually, and in the presence of so many local dialects the Croatian and its kindred Slovenian world cannot be separated very precisely" – Drawing the Slovenian-Croatian National Border in the Territory of the Present-day Prekmurje Region

2017 ◽  
Vol 57 (2) ◽  
pp. 33-50
Author(s):  
Jernej Kosi
Keyword(s):  
19Th Century ◽  
The West ◽  
Demarcation Line ◽  
National Space ◽  
National Movement ◽  
National Border ◽  
The 19Th Century ◽  
First Time

The article analyses the process involved in the formation of the idea to separate the "Slovenian" and "Croatian" national territory in the west of the Kingdom of Hungary. The concept was initially articulated as a linguistic premise in the works written by the famous linguist Jernej Kopitar, who understood the territory of the today's Prekmurje region as an area where Slovenian language was spoken. As of the middle of the 19th century, Kopitar's classification had been appropriated by the Slovenian national movement, which presupposed that the speakers of the Slovenian language in the Kingdom of Hungary were also members of the envisioned Slovenian community. In this context the Slovenian linguistic – national border was, in the middle of the 19th century, depicted on a map for the first time (Peter Kozler). In just a few decades, the idea of the national demarcation line in the today's Prekmurje, supposedly separating Slovenians from Croats at the river Mura, had strengthened considerably among the Slovenian national activists in the Cisleithanian lands. After the dissolution of Austro-Hungary and the signing of the Treaty of Trianion, this line in fact became a border between the Slovenian and the neighbouring Croatian national space. 

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

scholarly journals Nauka sztuki kupieckiej w Krakowie XVI–XIX wieku. Zarys problemu

2019 ◽  
pp. 7-20
Author(s):  
Marcin Gadocha
Keyword(s):  
19Th Century ◽  
Foster Parents ◽  
18Th Century ◽  
Birth Certificate ◽  
16Th Century ◽  
The 19Th Century

The article is a survey and an attempt to bring closer the questions connected with the education of future tradesmen in Cracow from the 16th century until the first half of the 19th century. Thus far, there has been no thorough study devoted to this topic. In the 16th century, young adepts of trade would start learning this occupation in their father’s business, further family’s business or in the dynamically developing trading houses in Cracow. In the 16th c. and 17th c. there was no merchants’ guild in Cracow, which could oversee the process of learning the “art of trade”. Only the establishment of the Merchants’ Congregation in 1722 brought about changes in this respect. Ultimately, in the new statute of the Congregation from 1833, the new principles of training were formulated. Candidates had to present their birth certificate, the recommending certificate written by their parents or foster parents. Moreover, the candidate had to be able to read, write and calculate in Polish or German. Learning took three years in the 16th and 17th centuries; in the 18th century this period was prolonged, in the 19th century lasted from 4 to 6 years. According to the author, the problem still requires further in-depth research. After the archival query, it seems that there are good possibilities to obtain valuable material connected with mercantile art in Cracow.

scholarly journals Upphaf kvikmyndaaldar á Íslandi

Ritið ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 43-68
Author(s):  
Gunnar Tómas Kristófersson
Keyword(s):  
Prior Knowledge ◽  
19Th Century ◽  
Early Years ◽  
The World ◽  
The 19Th Century ◽  
Magic Lantern ◽  
First Time

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth’s and Fernanders’ equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó”) was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.

„… wo der Dollmetsch allzeit interpretirt.“

2013 ◽  
Vol 58 (1) ◽  
Author(s):  
Clara Reiter
Keyword(s):  
Present Article ◽  
19Th Century ◽  
Professional Group ◽  
16Th Century ◽  
Habsburg Monarchy ◽  
Complex Group ◽  
Imperial Court ◽  
Main Components ◽  
The 19Th Century

AbstractThe present article focuses on court interpreters at the Imperial court of Vienna, who were employed in the Habsburg Monarchy from the early 16th century until the end of the 19th century. Based on the methodological concepts of professional intercultures introduced by Anthony Pym the article discusses the question whether or not court interpreters formed a professional group at the court. Different aspects of their profession such as competencies, remuneration, duties, reputation and their place in the organization of the court are discussed. For the application of Anthony Pyms model it will be shown that two main components, time and the intern differentiation of the group, are necessary to apply the model on a professional group like the court interpreters that was a highly complex group characterized by strong changes throughout their existence.

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