scholarly journals Teoria i praktyka etymologiczna Samuela Bogumiła Lindego na tle jego komparatystyki językoznawczej

2018 ◽  
pp. 41-75
Author(s):  
Tadeusz Lewaszkiewicz
Keyword(s):  
19Th Century ◽  
Point Of View ◽  
Theory And Practice ◽  
Early 20Th Century ◽  
Early 19Th Century ◽  
Slavic Languages ◽  
European Languages ◽  
Language Studies ◽  
Tentative Approval ◽  
The 19Th Century

Linde’s theory and practice of etymology must not be evaluated solely through the lens of modern linguistics, but also from the point of view of late 19th century language (especially Slavic language) studies. Against the general background of late 18th/early 19th century linguistics, his theory of etymology may be granted tentative approval, even though it contains many mistakes and nonsensical conclusions. Linde compiled the views of many of his predecessors (such as de Brosses, de Gébelin, Adelung, Ihre, Wachter and Dobrovský), but also attempted to modify some of their thoughts and add his own. It is not true (as stated in Zwoliński 1981) that no connection exists between the etymological theories of Dobrovský and Linde. The Polish lexicographer did indeed partially utilise the Czech’s work. Such approval cannot, however, be extended to Linde’s etymological practices as regards comparing Polish and Polish-Slavic lexical material: even though 65% (i.e. 547) of etymological fields contain correctly compiled vocabulary, mistakes occur in 35% (i.e. 292) of them. That Linde’s etymology-deriving principles were ineffective is evidenced by the fact that each of these 292 etymological fields should – based on the state of knowledge in the late 19th/early 20th century – be split into from 2 to 19 etymological fields. On the other hand, his etymological lists that cite words from many Indo-European languages, such as Polish and other Slavic languages, Latin, Greek, German and Baltic languages, and Sanskrit, should be viewed with some approval. Most of the comparisons found in Linde’s etymological treatise, which contains about 1,300 entries, bear similar marks of plausibility. The possibility of Bopp, Rask and Grimm being familiar with the inquiries of the Polish lexicographer and amateur linguist cannot be excluded. In the 19th century, Linde’s etymological principles influenced the so-called inspired linguists, including J. Kamiński, J. Lelewel, A. Mickiewicz and C.K. Norwid.

scholarly journals Irrationality as an Attribute of Legal Realism in the Assessments of Russian and Foreign Scientists of the Late 19th – Early 20th Century

2020 ◽  
pp. 76-79
Author(s):  
Vladimir Sergeevich Gruzdev
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Social Experience ◽  
Point Of View ◽  
Legal Philosophy ◽  
Early 20Th Century ◽  
Empirical Content ◽  
Legal Realism ◽  
Philosophical Foundations ◽  
The 19Th Century

The paper considers some essential aspects of the genesis of legal realism from the point of view of its philosophical foundations and their transformation in the field of legal knowledge and legal understand-ing. Legal realism, focused on the ontologization of social experience, shifted the attention of legal sci-ence to pragmatic and relativistic methods of analy-sis. As a result of these changes, the principle of knowledge of law was the beginning of irrational-ism, which was manifested in various aspects. The variability of empirical content in the field of legal philosophy was often the reason for refusing to search for regularities in it. In the 19th century, the philosophical attitudes of pragmatism and relativism became the basis for the substantial strengthening of the position of realistic approaches to law. One of the most revealing themes of the use and tenden-tious movement towards the principle of irrational-ism was the category of “normality”.

“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin

2021 ◽  
Vol 84 (2) ◽  
pp. 220-247
Author(s):  
Richard Wrigley
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Critical Assessment ◽  
Early 20Th Century ◽  
Early 19Th Century ◽  
The Moment ◽  
The 19Th Century ◽  
Paris Salon ◽  
Public Exhibition ◽  
The Revolution

Abstract Ingres’s portrait of Louis-François Bertin (1832) has been universally accepted as a visual “apotheosis” of the newly powerful early 19th-century bourgeoisie in France. Here, we study the inconsistencies and contestation which contributed to this identification. Beginning with the moment of its first public exhibition in the 1833 Paris Salon, this article traces Bertin’s evolving reputation as an image of its epoch, focusing on its reappearance in public first at the Bazar Bonne-Nouvelle in 1846, and then in the display of Ingres’s works at the Exposition Universelle of 1855. This leads to a critical assessment of how the picture’s role as a political emblem has been related to later assertions that it also exemplified the artist’s incipient modernism. The exhibition of works by Ingres at the Paris Salon d’Automne in 1905 allows us to take stock of claims made about the picture’s status in the early 20th century. However, in contrast to the habitual desire to modernise Ingres (and thereby to detach him from a lingering taint of academicism), this article argues that a key element in the reception of Ingres’s portrait in the second half of the 19th century is a recognition of its rootedness in values emanating from the Revolution of 1789, embodied both in the person of LouisFrançois Bertin and Ingres’s representation of him.

scholarly journals Peculiarities of Greek Origin Words Perception by the Representatives of Contemporary Russian Linguistic Culture: Associative Experiment

2021 ◽  
Vol 12 (4) ◽  
pp. 1036-1050
Author(s):  
Viktor M. Shaklein ◽  
Anastasia A. Scomarovscaia
Keyword(s):  
19Th Century ◽  
Cognitive Linguistics ◽  
Native Speakers ◽  
Point Of View ◽  
Theory And Practice ◽  
Greek Culture ◽  
Original Culture ◽  
New Meanings ◽  
A Charge ◽  
The 19Th Century

The article describes the associative experiment as one of the most productive methods of modern psycholinguistics. The theoretical works of Russian and foreign researchers on the theory and practice of the associative experiment in modern linguistics are reviewed. To illustrate the associative experiment, the analysis of the associative fields, formed by the reactions of the Russian-speaking respondents to the words of Greek origin is presented. The relevance of the work is determined by the fact that the authors make an attempt to study the peculiarities of the perception of borrowed words, using the mechanisms of perception of these or those concepts by native speakers, their evaluation and connotations. This seems interesting not only for contemporary psycholinguistics, but also for semantics, stylistics, cognitive linguistics and other branches of linguistics. The linguocultural value of the study lies in the fact that the experiment allows determine how a word of foreign origin, occurring in Russian, retains the charge of the original culture from which it came. The linguistic material for the study is the most common or typical Greek expressions from the poems of A.S. Khomyakov, a Russian poet of the 19th century, one of the founders of the Slavophile movement. The novelty of the research lies in the fact that the language of A.S. Khomyakovs works is still understudied. The study of the Greekisms as a foreign cultural phenomenon in the texts of a Slavophile poet, whose philosophical concept is connected with "traditionalism" both in the understanding of culture and language, is of scientific interest. We describe the associative fields to the words-stimuli prophet and ether , using Y.N. Karaulov's methodology, which implies the consideration of associations from lexico-syntactic, morphological, cognitive, pragmatic and statistical points of view. From the linguocultural point of view it is important to identify the cognitive features of the perception of the stimuli. The experiment helped to discover that words of Greek origin continue to carry a charge of Greek culture, in addition, they have become an integral part of Russian culture, manifesting themselves in the minds of native speakers through association with Russian precedent texts. The analysis of associative fields made it possible to reveal the peculiarities of the perception of words of Greek origin by native speakers of modern Russian, and to compare the obtained meanings with those that the words had when they were written in the 19th century. The transformation of semantics, as well as the re-accumulation from one meaning to another, the emergence of new meanings, which corresponds to the historical development of words, are noted.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

scholarly journals Variations in American marketing practices of early 19th-century ceramic importers and dealers, reflecting culture and identity

2020 ◽  
Vol 12 (3) ◽  
pp. 345-375
Author(s):  
Neil Ewins
Keyword(s):  
19Th Century ◽  
Design Methodology ◽  
Marketing Research ◽  
Early 19Th Century ◽  
Content Type ◽  
Advertising Strategy ◽  
Political Views ◽  
The Usa ◽  
Anglo American ◽  
The 19Th Century

Purpose This paper explores the advertising strategy of crockery importers and dealers in relationship to their origins and backgrounds. This is a departure from earlier ceramic-history literature which tended to focus on the Staffordshire producers, with limited awareness on how the identity of importers and dealers influenced what products were sold, and their individual approaches to marketing. Design/methodology/approach Within a context of historical marketing research, this paper analyses newspaper advertising and commentary. It combines an examination of marketing practices with a wider consideration of the cultural identities of ceramic importers and dealers. The digitalization of historical records, combined with sophisticated search engines, makes it more feasible to examine a broader range of sources. Thus, modern research methods can enhance our understanding of production and demand and reveal how marketing strategy was diverse. Findings Awareness on how advertising was influenced by the backgrounds and socio-political views of importers and dealers demonstrates ways in which Anglo-American ceramic trade could be far more market-led. More significantly, marketing approaches were not necessarily responding to American demand, but rather that importers could engage in commissioning goods which reflected their own views on politics, religion or slavery. Originality/value Examining the advertising of importers demonstrates the complex relationship between production and ceramic demand. This paper opens up debates as to how far the advertising of other merchandise in the USA shows evidence of taking a more individual approach by the 19th century.

A New Pattern of Old Fabric: Taʻlīm-i fārisī and the Grammatical Description of the Persian Language in the Ottoman Empire

2021 ◽  
Vol 27 (41) ◽  
pp. 31-48
Author(s):  
Munir Drkić ◽  
Ahmed Zildžić
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Paradigm Shift ◽  
Traditional Approach ◽  
New Approach ◽  
Persian Language ◽  
European Languages ◽  
Language Students ◽  
The 19Th Century

This paper aims to examine the work entitled Taʻlīm-i fārisī in the context of the Ottoman tradition of the grammatical study of the Persian language. Taʻlīm-i fārisī, most likely penned by Kemal-pasha, is a short yet exceedingly significant primer for Persian language students dated in the middle of the 19th century. After a brief overview of the Persian grammar studies in the Ottoman Empire, the authors present the work and its author and conduct an analysis of the content of Taʻlīm-i fārisī. In terms of its underlying methodology, this work stands halfway between two principal tendencies: one is the traditional approach to studying the Persian language in the Ottoman Empire; another is a new approach developed under the influence of grammatical description of European languages. This paradigm shift in the Persian language's grammatical description within the Ottoman Empire is readily observable in the primer under review.

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.

scholarly journals Confessional conversions on the territory of Belarus in the second half of the 19th – early 20th century: overview of historiography

2021 ◽  
pp. 82-89
Author(s):  
Marharyta M. Karol
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
21St Century ◽  
State Policy ◽  
Early 20Th Century ◽  
General State ◽  
Present Stage ◽  
Religious Issues ◽  
Points Of View ◽  
The 19Th Century

The article examines the stages of the formation of historiography devoted to the problems of confessional conversions in the second half of the 19th century on the territory of the Belarusian provinces. The historiographic trends that formed from the end of the 19th century to the beginning of the 21st century were identified and analysed. The authour studies the peculiarities of Belarusian and foreign historiography at the present stage, when a large number of works on religious issues has appeared, including confessional conversions. It is argued that in Soviet times, the issue of transitions from Catholicism to Orthodoxy was practically not touched upon. In their approaches and assessments, some researchers continue the traditions of pre-revolutionary historiography, but the majority of modern scientists strive to give an objective picture of religious processes on the Belarusian lands, to show them in the context of general state policy. The relevance of the article is due to the coverage of various points of view on the problem of confessional conversions. It is noted that pre-revolutionary researchers, first of all, sought to prove the voluntariness of conversions to Orthodoxy, but during this period, works were also created in which this thesis was questioned.

scholarly journals The personality and the creative work of A. Pasculli in the context of the West European music art of the 19th century

2021 ◽  
pp. 1-10
Author(s):  
Liliya Orlanovna Norbu ◽  
Mariya Vladimirovna Kholodova
Keyword(s):  
19Th Century ◽  
Early 20Th Century ◽  
Creative Work ◽  
Music Culture ◽  
Research Focus ◽  
The West ◽  
Russian Scientific ◽  
The 19Th Century ◽  
Creative Life

The authors of the research focus on Antonio Pasculli, a famous Italian virtuoso oboe player and composer of the late 19th - the early 20th century, whose name had long and undeservingly been in the wilderness. In the last two-three decades, his legacy has been getting a new lease on life. Pasculli’s compositions are on the concert list of oboe players all over the world. Despite the performance popularity, the personality and creative work of the outstanding Italian musician are still on the periphery of the research focus of Russian musicologists. All valuable information is contained in rare foreign researches. Therefore, the purpose of the article is to reconstruct the artistic portrait of Antonio Pasculli in the context of time. This research is the first in Russian musicology to introduce into Russian scientific discourse the data from foreign sources revealing the peculiarities of Pasculli’s creative life. Based on the analysis of the collected data, the authors conclude about the necessity to revise the role of Pasculli’s work and legacy in the context of European music culture of the 19th century. It is believed that familiarization with the information about the Italian musician, unknown to the Russian audience, will help to not only dive deeper into the specificity of Pasculli’s compositions, but also to reinterpret his place and role in the evolution of playing woodwind instruments.

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