scholarly journals University women in Salamanca in the first third of the 20th century: quantification and profiles

2019 ◽  
Vol 8 (1) ◽  
pp. 005
Author(s):  
María Luz De Prado Herrera
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
University Students ◽  
20Th Century ◽  
Women's Education ◽  
Political Dimension ◽  
University Women ◽  
Educational Issue ◽  
The University

In the last decades of the nineteenth century, the educational issue took on a greater political dimension. This general impulse benefited women’s education, fostered by legislation developed since the mid-nineteenth century and the first decades of the twentieth century. The Royal Order of March 8, 1910 facilitated the path opened by its predecessors and was a real revulsive for those women who would like to enter the University. Our research focuses on this context and on how its access to the University of Salamanca occurred in the first third of the 20th century. The analysis of the fundamental sources allows us to quantify the number of students and their distribution by faculties and branches of studies, in addition to demonstrating to what extent the gradual elimination of obstacles, as a consequence of the new legislation, impelled their entrance in this University. The biographical fragments of the most relevant university students show us, as much as possible, their academic and vital trajectory and help us to end their invisibility.

scholarly journals Granville Barker's Ensemble as a Model of Fabian Theatre

2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Early Twentieth Century ◽  
Dialogical Relationship ◽  
And Performance ◽  
The University ◽  
Fabian Society

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.

PER UN ARCHIVIO DELLA CORRISPONDENZA DEGLI SCIENZIATI ITALIANI

Nuncius ◽  
2000 ◽  
Vol 15 (2) ◽  
pp. 681-719
Author(s):  
LUCIANO CARBONE ◽  
FRANCO PALLADINO ◽  
ROMANO GATTO
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Historical Development ◽  
History Of Mathematics ◽  
Mathematical Research ◽  
Conic Sections ◽  
Kingdom Of Naples ◽  
History Of ◽  
Mathematical Sciences ◽  
The University

Abstracttitle SUMMARY /title Federico Amodeo (1859-1946) was a mathematician and a historian of the mathematical sciences. As a mathematician he was "libero docente" at the University of Naples. His interests extended from projective to algebric geometry and his mathematical research was carried out for the most part from the mid-1880s until the end of the nineteenth century. As a historian he was active from the first years of the twentieth century until his death. In this capacity he was interested in mathematics, mathematicians and institutions in the Kingdom of Naples (later the Kingdom of the Two Sicilies, from 1815), and also in the historical development of analytical and projective geometry and the history of conic sections. He held the chair in History of Mathematics in the University of Naples from 1905 until 1910, the year in which the chair was suppressed. Nonetheless he continued to teach this subject as a "libero docente" until 1923. Here we present the list of more than 1.300 writings, constituting his Correspondence, amongst which the letters of Castelnuovo, Pascal, Peano, Segre and Achille Sannia are of particular significance. We also present the complete list of his publications, reconstructed thanks to the consultation of incomplete printed bibliographies and a manuscript list.

STUDYING UKRAINIAN HISTORY IN THE UNIVERSITY OF ST. VOLODYMIR

2019 ◽  
pp. 9-18
Author(s):  
Nataliia Sokolova
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Ethnic Minorities ◽  
Gold Medal ◽  
Teaching Staff ◽  
Russian History ◽  
Old Russian ◽  
Historical Monuments ◽  
History Of ◽  
The University

The process of teaching Ukrainian history at the University of St. Volodymyr during the nineteenth and first half of the twentieth century. The methodological basis of the publication was the historical and dialectical methods of research. It was found that during the 19h century at the University of St. Volodymyr's Ukrainian history was taught in the context of Russian history. And only at the beginning of the 20th century the teaching staff and students made an attempt to organize the work of the Department of History of Ukraine, which proved to be unsuccessful. It was established that in the Nykolay era only Russian history was taught, based on the imperial ideals of the existence of a single Russian people, whose ethnic minorities were Ukrainians and Belarusians. Teaching was conducted at a low professional level. The situation changed dramatically with the advent of V. Antonovich's Department of Russian History, who not only studied Ukrainian history independently, but also offered her to explore her students. So, in the second half of the nineteenth century future well-known Ukrainian historians M. Dashkevich, P. Golubovsky, V. Danilevich, M. Hrushevsky written a series of works devoted to the history of some ancient Russian principalities. These students received gold medal awards for their studies. Their hypotheses have not lost their relevance in our time. Under the guidance of V. Ikonnikov, Kyiv students began to actively explore certain historical monuments from the Ukrainian past. At the beginning of the 20th century teachers V. Danilevich and P. Golubovsky developed separate courses on the history of Ukraine. Іt is proved that in the student's works (abstracts, coursework, semicircular) the Russian history is mainly covered. Ukrainian issues are limited to the Old Russian period. Most of these works are of a compilative nature and written in the context of Russian historiography. Only after the revolutionary events of 1917 the former students of the University of St. Volodymyr, well-known domestic scientists will focus on studying the problems of Ukrainian history, putting forward new hypotheses and recognizing Ukrainians as separate peoples.

scholarly journals Historical background, philosophical and aesthetic platform and ideological principles of Ukrainian modernism

2019 ◽  
pp. 38-52
Author(s):  
Ulia Babunych
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
20Th Century ◽  
Scientific Progress ◽  
Cultural Development ◽  
Transitional Period ◽  
Historical Background ◽  
Main Task ◽  
Cultural Revival ◽  
The Creation

Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of ​​the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually. In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art. The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the "new" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on. The theoretical works of Ukrainian artists of the first third of the 20th century, often with a philosophical and aesthetic basis, serve as a significant contribution in the context of the formation of not only a national version of modernism, but also a pan-European one. As a basis for artistic creation, modernists choose a symbolic-allegorical beginning, often serving as both generally accepted and purely national archetypes. If we sum up the process of national-cultural revival in Ukraine in the late nineteenth and early twentieth centuries, it should be noted that the national movement stimulated the political, social, economic, cultural, and scientific progress of society. Among the values ​​of the intelligentsia was chosen intelligence of Western ideas, including ideas of modern Western philosophy and culture. Worldview principles of modernism in Ukrainian art include interpretation of the historical national and world creative heritage, the use of symbols and archetypes, mythology of creativity, rethinking the achievements of folk art and folklore traditions. Such directions of search determine the conceptual content of the Ukrainian art of this period and the main ideas of creativity of representatives of modernism.

University Leadership—More Complicated and More Critical Than Ever

2018 ◽  
pp. 72-88
Author(s):  
Holden Thorp ◽  
Buck Goldstein
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Shared Governance ◽  
University Of Virginia ◽  
University Leadership ◽  
Internal Dynamics ◽  
University Presidency ◽  
Late Twentieth ◽  
The University ◽  
Late Twentieth Century

In 2012, the rectors of the University of Virginia carried out a failed attempt to oust President Teresa Sullivan, demonstrating how a lack of understanding of shared governance and the importance of the internal dynamics of a university can frustrate university trustees. Bart Giamatti said that a university presidency is “a mid-nineteenth-century ecclesiastical position on top of a late-twentieth-century corporation.” While trustees have some important formal powers, most of their influence is informal and has to be navigated within the internal customs and traditions of the university. Two leaders who have navigated these dynamics successfully but in very different ways are Mark Wrighton and Gordon Gee.

A Science Like Any Other? Classical Legal Formalism in theHalakhicJurisprudence of Rabbis Isaac Jacob Reines and Moses Avigdor Amiel

2013 ◽  
Vol 28 (1) ◽  
pp. 179-224 ◽  
Author(s):  
Yosef Lindell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Jewish Law ◽  
Legal Formalism ◽  
The Law ◽  
Internal Coherence ◽  
The Right ◽  
The University ◽  
The Way

Nineteenth century jurists sought to make law a science like any other. They believed that the law was not an unprincipled mass of archaic and contradictory rules, nor an extinct body of Latin words that should be venerated in a church reliquary and seldom studied. Rather, they said that it was time for law to take its place in the university and to be dissected under the microscope of scientific analysis. It was by these methods that law's fundamental axioms would be uncovered—which would in turn explain the relationship of all its parts to the whole. And with the right set of principles, new data could be effortlessly incorporated into an ever-growing scientific taxonomy of the law.This mode of thinking dominated both European and American legal jurisprudence in the mid- to late-nineteenth century and the early twentieth century, although it went by different names. One fundamental thread ran throughout—the law was not unprincipled, but logical. It could be reasonably explained and rationally ordered. This paper demonstrates that Rabbis Isaac Jacob Reines and Moses Avigdor Amiel, two important Jewish thinkers living at the turn of the twentieth century, saw Jewish law, orhalakha, in the same light. Although Reines and Amiel may not have been directly influenced by secular jurisprudence, many of the elements of this classical legal science provide an interesting parallel to the answers these two thinkers gave to some of the oldest problems of Jewish law. Most notably, the way in which Reines and Amiel explained the connection between the Torah's oral and written components, as well as the way in which they asserted the internal coherence ofhalakhicjurisprudence, was similar to the legal formalism of their contemporaries.

scholarly journals El uso de motivos indígenas de colecciones del Museo Etnográfico de la UBA en los inicios del Siglo XX: actores, actividades y objetos / THE UTILIZATION OF INDIGENOUS DESIGNS IN THE COLLECTIONS OF THE MUSEO ETNOGRÁFICO AT THE UNIVERSITY OF BUENOS AIRES...

2017 ◽  
Vol 10 (1) ◽  
pp. 27
Author(s):  
Andrea Pegoraro
Keyword(s):  
Twentieth Century ◽  
University Students ◽  
Buenos Aires ◽  
Indigenous Art ◽  
Similar Program ◽  
The University ◽  
Siglo Xx ◽  
Estudiantes Universitarios

<p>Este artículo se concentra en examinar el uso que se hizo de las colecciones del Museo Etnográfico durante las primeras décadas del siglo XX en un contexto de recuperación del “arte” indígena como representante de lo americano y local, que también fue acompañado por el desarrollo de espacios de producción y exposición de tejidos inspirados, en parte, en motivos o diseños de objetos que se almacenaban en museos de la Argentina.<br />Al mismo tiempo que en el Museo se recibían visitas escolares, grupos de estudiantes universitarios y artistas plásticos para registrar los motivos indígenas de las piezas, se creaban escuelas y talleres de tejidos y telares impulsados por Clemente Onelli. A su vez, todo esto se combinó con un programa similar impulsado por la Liga Patriótica Argentina, que a través de las Exposiciones de Telares, presentaba todos los años motivos de piezas indígenas, tanto arqueológicas como etnográficas, extraídos de las cerámicas y tejidos de los museos para que fueran aprendidos y reproducidos por tejedoras del interior del país.</p><p>Palabras claves: Museo Etnográfico; motivos indígenas; textiles; objetos etnográficos; Clemente Onelli; Liga Patriótica Argentina.</p><p>Abstract</p><p>This article focuses on the use of the collections of the Ethnographic Museum during the first decades of the twentieth century, in a context of recovering indigenous “art” representing the Americas and local art, This event was also accompanied by the development of production spaces and tissue exhibitions inspired partly by motifs or designs of objects stored in Argentine museums.<br />While the Museum arranged school visits and groups of university students and artists in order to record indigenous motifs from artistic pieces, schools and workshops of weaving led by Clemente Onelli were created. In addition, a similar program was developed by the Liga Patriotica Argentina which, through Loom Exhibitions presented annually indigenous motifs, both archaeological and ethnographic ones, taken from the ceramics and fabrics of museums, which were to be learned and reproduced by knitters from inland regions of the country.</p><p>Keywords: Ethnographic Museum; indigenous motifs; textiles; ethnographic objects; Clemente Onelli; Argentine Patriotic League.</p>

Unravelling the complexity of Mexican biogeographical patterns by naturalists in the 19th century: From Alexander von Humboldt (1769—1859) to Francis Sumichrast (1829—1882)

Phytotaxa ◽  
2020 ◽  
Vol 456 (3) ◽  
pp. 244-255
Author(s):  
FABIOLA JUÁREZ-BARRERA ◽  
ISOLDA LUNA VEGA ◽  
JUAN J. MORRONE ◽  
ALFREDO BUENO-HERNÁNDEZ ◽  
DAVID ESPINOSA
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Transition Zone ◽  
20Th Century ◽  
19Th Century ◽  
Theory Of Evolution ◽  
Alexander Von Humboldt ◽  
Distributional Patterns ◽  
The 19Th Century

Gonzalo Halffter developed the concept of a transition zone in Mexico during the mid-twentieth century, when he superimposed the distributional patterns of different groups of Coleoptera, finding that some groups share a common biogeographical history. The complexity of the Mexican biogeographical patterns had already caught the eyes of nineteenth-century naturalists, who tried to discern some kind of order within this biotic complexity. Herein, we analyse the original studies of different nineteenth-century authors on the distributional patterns of different Mexican taxa, highlighting the main explanations provided by them. The complexity of the Mexican biota was interpreted by Humboldt as the result of the interaction between northern and southern floras, as a taxonomic peculiarity by Augustin de Candolle, as a strong biotic replacement by Alphonse de Candolle and Sumichrast, and as different dispersal stages by Wallace. Before the theory of evolution was accepted, different biogeographical patterns (endemism, diversity and taxonomic replacement gradients, among others) had coexisted without contradictions. Botanical and zoological regions first acquired a connotation of independent centres of creation, and the wider distributions (mainly disjunct distributions) later became the backbone of hypotheses concerning historical relationships between biotas based on a dispersalist model. Nevertheless, during the 20th century, the explanations of 19th century naturalists such as the limits between regions and biotic transition entered the biogeographical debate again.

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