scholarly journals John Hogg (1800-1869) e a descrição do quarto reino natural: Primigenum

2018 ◽  
Vol 18 ◽  
pp. 125-139
Author(s):  
Verônica Klepka ◽  
Maria Julia Corazza ◽  
Fagner De Souza
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
British Association ◽  
Animal Kingdom ◽  
New Knowledge ◽  
Richard Owen ◽  
The Creation

ResumoAté o século XIX, organismos que, por indefinição ou por falta de caracteres distintivos claros, compartilhavam características com as plantas e/ou com os animais estavam distribuídos nos reinos vegetal ou animal. Novos conhecimentos tornaram necessária a criação de um agrupamento separado.  Em 1860, o naturalista John Hogg revisa a separação feita pelo paleontólogo Richard Owen propondo modificações e a criação do quarto reino da natureza: o Primigenum, foco de debates conceituais ao longo de todo século XX até chegar ao que hoje conhecemos como Reino Protista. A tradução do trabalho de Hogg, lido para a Associação Britânica, em Oxford, no dia 28 de junho de 1860, é aqui apresentada. Palavras-Chave: Classificação biológica; Protistas; Seres Vivos.AbstractUntil the nineteenth century, organisms, of indefiniteness or lack of clear distinctive characters, shared features with the plants and / or animals were distributed in the plant and animal kingdom. New knowledge made necessary the creation of a separate grouping. In 1860, naturalist John Hogg review the separation maked for paleontologist Richard Owen proposing modifications and the creation of the fourth kingdom of nature: the Primigenum, focus of conceptual debates throughout the twentieth century to get to what we know today as the Kingdom Protist. The translation of Hogg, work read to British Association, in Oxford, on June 28, 1860, is presented here.Keywords: Biologic classification; Protists; Living Beings

Ordering Empire and Democracy, 1902–1921

2020 ◽  
pp. 24-67
Author(s):  
Tobias Harper
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Middle Class ◽  
British Empire ◽  
British Society ◽  
Late Nineteenth Century ◽  
New Order ◽  
Late Nineteenth ◽  
The Creation ◽  
Opening Up

This chapter examines the creation of new orders at the beginning of the twentieth century, which was the culmination of a prolonged period of “unprecedented honorific inventiveness” starting in the late nineteenth century. In Britain the new Order of the British Empire was branded the “Order of Britain’s Democracy” in recognition of the fact that it extended far deeper into non-elite classes in British society than any previous honour. Between 1917 and 1921 more than 20,000 people in Britain and throughout the British Empire were added to this new Order. This was an unprecedented number, orders of magnitude larger than honours lists in previous years. While the new Order was successful in reaching a wider, more middle-class audience than the honours system before the war, which was socially narrow, there was a substantial backlash to what was widely perceived by elites to be an excessive (and diluting) opening-up of the “fount of honour.” This backlash was connected to political controversies about the sale of honours that eventually helped bring about Lloyd George’s downfall. This chapter also contains a brief description of all the components of the British honours system at the beginning of the twentieth century.

Colonial and Federal Admiralty Jurisdiction

1981 ◽  
Vol 12 (3) ◽  
pp. 236-270 ◽  
Author(s):  
C. A. Ying
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Judicial Power ◽  
State Courts ◽  
Concerted Effort ◽  
International Shipping ◽  
The Creation ◽  
Federal Jurisdiction

Notwithstanding the inclusion of “Admiralty and maritime jurisdiction” within the constitutional grant of federal judicial power, current Admiralty jurisdiction in Australia is based solely on a nineteenth century Imperial statute, the Colonial Courts of Admiralty Act 1890. That this has remained the case for so long is regrettable, and reflects in part a traditional deference to Imperial control over international shipping (although lately there have been indications of greater legislative assertiveness over maritime matters generally), and in part a reluctance to interfere with the present allocation of jurisdiction among State courts. A concerted effort is now under way to lay the foundation for the creation of a modern indigenous Admiralty jurisdiction, and with this in mind, the author sets out to examine the nature and extent of the current colonial jurisdiction, its interrelationship with the federal jurisdiction under section 76(iii) of the Constitution, and the desirability of abandoning the rigid nineteenth century base of the former to realise the full twentieth century promise of the latter.

Contagious Rhythm: Verse as a Technique of the Body

2019 ◽  
pp. 106-127
Author(s):  
Haun Saussy
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Ethnic Community ◽  
The Body ◽  
Cultural Patterns ◽  
Forward Movement ◽  
Origin Stories ◽  
Starting Point ◽  
The Creation ◽  
The Great War

Nineteenth-century origin stories about culture and poetry assume a pattern of development and diversification from a single starting point—be that a primitive language or a single ethnic community. But according to twentieth-century models, the development of culture depends on the clash of different patterns of activity that disrupt the forward movement of simple rhythms. Marcel Mauss’s account of the techniques of the body and Ezra Pound’s practices of translation supply two examples of the breaking of rhythm and the creation of new cultural patterns, sometimes in response to the destruction of European ideals in the Great War.

From Fiction to History and Back: The Tale, Its Versions and Its Afterlives

2020 ◽  
pp. 1-36
Author(s):  
Marlé Hammond
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Seventeenth Century ◽  
Fairy Tale ◽  
Fine Arts ◽  
Western Model ◽  
The Creation

This chapter introduces the fictional tale by tracing its evolution from its unknown origins in what was probably the seventeenth century to its historicisation and Christianisation in the nineteenth century, to its infiltration of popular culture and the fine arts in the twentieth century. Its adaptations across various media, including literature, cinema and music, are explored. The chapter furthermore shows how the tale inscribes the endemic paradigms of the ʿUdhrī love narrative and the popular epic or sīra with the western model of the damsel-in-distress fairy tale. Finally, the chapter relates the process by which the tale becomes absorbed into Arabic culture to Yuri Lotman’s notion of the ‘boundary’ as the site of artistic innovation and the creation of new genres.

Writing and Reading about Death

2021 ◽  
pp. 228-244
Author(s):  
John Parker
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Print Culture ◽  
Gold Coast ◽  
African Languages ◽  
The Bible ◽  
The North ◽  
The Creation ◽  
Prayer Books ◽  
Basel Mission

This chapter considers the transformation from a culture of speaking about death to one which included writing and reading about death. It spotlights the final quarter of the nineteenth century, from the creation of the British Crown Colony of the Gold Coast in 1874 to its expansion with the formal incorporation of Asante and the savanna hinterland to the north in 1901–2. The chapter focuses on literacy and print culture as they developed on the Gold Coast littoral, a process which would extend into Asante and beyond only in the twentieth century. This print culture comprised both vernacular African languages and, with the departure of the Dutch in 1872, the language of the remaining colonizing power: English. The former was particularly associated with the Basel Mission, whose European and African agents pioneered the transcription of Ga and Twi as written languages and produced the first vernacular printed texts: prayer books, primers, dictionaries, the gospels and, by the 1860s to 1870s, compete translations of the Bible. The Bible, of course, has a great deal to say about mortality and the ends of life, however, the chapter concentrates on a different, secular medium of entextualized discourses about death: newspapers, which, as in Europe, 'accorded mortality new openings.'

A Space for Time

Futures ◽  
2021 ◽  
pp. 51-68
Author(s):  
Sandra Kemp
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Temporal Organization ◽  
Early Twentieth Century ◽  
The Social ◽  
Political Narratives ◽  
The Future ◽  
The Creation ◽  
Essay Tests

This essay analyses the role of museums in the creation of futures imaginaries and the ways in which these are embedded in socio-political narratives over time (narratives of nation, empire, power, consumption, and home). The essay tests its hypotheses through charting the evolution of the nineteenth-century phenomenon of the soirée—exhibitions and events showcasing technological, scientific, and cultural innovations of the future—from their heyday in the mid nineteenth century to their demise in the early twentieth century. In particular, the essay explores the social, spatial, and temporal organization of nineteenth- and early twentieth-century soirée display spaces as carriers of future worlds. It argues that the creation of futures imaginaries depends on interrelationships between people and objects across space and time, and that the complex web of relations established between words, objects, spaces, and people in exhibitions provides catalysts for ideas, ideologies, and narratives of the future.

Saints and Sinner: Sir Richard Owen

2013 ◽  
Vol 95 (5) ◽  
pp. 170-171
Author(s):  
Richard Bellon
Keyword(s):  
Annual Meeting ◽  
Presidential Address ◽  
Technical Detail ◽  
British Association ◽  
Animal Kingdom ◽  
General Audience ◽  
Current State ◽  
Richard Owen

The presidential address launched the annual meeting of the British Association for the Advancement of Science. Each year a new president provided a broad and accessible summary of the current state of science to a general audience. These talks served as the meeting's intellectual tent-pole. Afterwards attendees fanned out to more specialised events. Most presidents spoke for less than 60 minutes. At the 1858 meeting in leeds, Richard Owen pummelled his audience for nearly three hours. He dedicated much of his time to describing, in excruciatingly technical detail, his groundbreaking work on the structural correspondences present in all vertebrate skeletons, which he had earlier christened 'homologies'. He now made the case that his work provided 'a superstructure of higher generalisations in regards to parts homological or answerable throughout the animal kingdom .' He finished well after eleven at night. A journalist insinuated that no one emerged from the ordeal seemingly unexhausted except for the speaker himself.

Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music

2020 ◽  
pp. 296-346
Author(s):  
Christopher Hasty
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Seventeenth Century ◽  
Twentieth Century Music ◽  
The Creation ◽  
Complex Projective ◽  
Fourth Book ◽  
Projective Field

This chapter assesses meter in early-seventeenth-century and twentieth-century music. Specifically, it analyzes compositions by Monteverdi, Schütz, Webern, and Babbitt. Monteverdi's “Ohimè, se tanto amate” from the fourth book of madrigals presents a metrical subtlety rarely encountered in eighteenth- and nineteenth-century music. Here the projective field is very mobile, and mensural determinacy is restricted to relatively small measures. Meanwhile, Schütz's concertato motet “Adjoro vos, filiae Jerusalem” from the Symphoniae sacrae, Book I (1629), demonstrates extremely subtle rhythmic detail and great projective contrast used in the service of a compelling larger gesture. Here the repetition of small melodic figures is used for the creation of complex projective fields that serve the continuity of phrases and sections. The chapter then looks at the much smaller measures and much greater ambiguity in some music of the twentieth century.

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.

Edward W. Blyden: Pioneer West African Nationalist

1965 ◽  
Vol 6 (3) ◽  
pp. 373-388 ◽  
Author(s):  
Hollis Lynch
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
West Africa ◽  
West African ◽  
African Community ◽  
The Creation

This article examines the various ways by which Edward Wilmot Blyden, the most outstanding Negro intellectual of the nineteenth century, worked for the creation of a West African community, and thereby demonstrates that the idea of a united West Africa is not of twentieth-century origin, as has generally been supposed.

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