Academic literature on the topic '1899-1942'

Music by Peter Ryazanov (1899–1942), professor at the Leningrad Conservatory, educator, musicologist and folklorist, has been written by him in 1920–1930’s. In 1930’s he estranges his music from the avant-garde which he presented in the late 1920’s, and he becomes a devotee of the art which is speaking with a «clean and in high sense intelligible language».

Two Australian genera, Tessaromma Newman and Phlyctaenodes Newman of the tribe Phlyctaenodini Lacordaire, 1868 (=Tessarommatini Lacordaire, 1868) syn. nov. are revised. All known species are redescribed and illustrated. Keys to the genera of Australian Phlyctaenodini and species of Tessaromma Newman and Phlyctaenodes are provided. One new genus Escalonia gen. nov. (type species: Tessaromma loxleyae McKeown, 1942) and three new species Phlyctaenodes queenslandicus sp. nov., Escalonia carolinae sp. nov. and Escalonia surprise sp. nov. are described. Tessaromma truncatispina McKeown, 1940 is regarded as a junior synonym of Tessaromma sordida McKeown, 1940; Tessaromma nigroapicale Aurivillius, 1917 is synonymized with Tessaromma nanum Blackburn, 1899; and Tessaromma sericans (Erichson, 1842) is synonymized with Tessaromma triste (Hope, 1841). Tessaromma setosa McKeown, 1942 is moved to Ectinope Pascoe, and Zoedia intricata Gressitt, 1959 is moved to Escalonia gen. nov.

Only 62 individuals of the Przewalski’s horse (Equus przewalski) were brought from the wild to captivity during the period of the known existence of their wild population (1881 – ca. 1968), 24 males and 30 females in 1899–1903; 1 male and 4 females in 1942–1945; 1 male and 2 females in 1947. Of these horses, only 12 individuals (6 males, 6 females) from the first imports and a female from 1947 entered the global breeding programme of the Przewalski’s horse.

Abstract In the tribe Pyrgotini, a monophyletic lineage is considered as the subtribe Adapsiliina Rondani, 1869, revised rank; it includes the genera Adapsilia Waga, 1842, Campylocera Macquart, 1843, Euphya Wulp, 1885, Eupyrgota Coquillett, 1899, Geloemyia Hendel, 1908, Hendelpyrgota Vanschuytbroek 1963, Plectrobrachys Enderlein, 1942, Porpomastix Enderlein, 1942, Pyrgotomyia Hendel, 1934, Siridapha Enderlein, 1942, Trichopeltia Wulp, 1885, and an unnamed and unplaced genus-group taxon (represented by the group of species related to Adapsilia hirtoscutellata Hendel, 1933). Based on having at least two synapomorphies: the incomplete costa not reaching apex of medial vein, and male cerci flattened dorsoventrally, large, slightly longer and wider than epandrium, the broadest concept of the genus Campylocera Macquart, 1843 is proposed. In the Afrotropical Region, it therefore includes also all the species assigned by Steyskal (1980) to the genera Clemaxia Enderlein, 1942, Congopyrgota Aczel, 1958, syn. n., Diasteneura Hendel, 1908, syn. n., Dicrostira Enderlein, 1942, Hexamerinx Enderlein, 1942, Hypotyphla Loew, 1873, syn. n., Hypotyphlina Enderlein, 1942, syn. n., Lygiohypotyphla Enderlein, 1942, and Prohypotyphla Hendel, 1934, syn. n. The other important characters of Campylocera are the low epistome, subocular sclerite well expressed, and femoral organ on female mid femur always lacking. The following synonymy is established: Campylocera ferruginea Macquart, 1843 = Prohypotyphla omissa Hendel, 1934, syn. n.; Campylocera hyalipennis (Aczel, 1958, comb. n.) = Congopyrgota hyalipennis Aczel, 1958 = Congopyrgota kivuensis Vanschuytbroeck, 1963, syn. n. = Congopyrgota ethiopica Steyskal, 1972, syn. n.; Campylocera latigenis Hendel, 1914 = Prohypotyphla obtusicornis Hendel, 1934, syn. n. = Dicrostira partitigena Enderlein, 1942, syn. n.; Campylocera loewi (Hendel, 1908), comb. n. = Hypotyphla loewi Hendel, 1908 = Prohypotyphla (Hypotyphlina) saegeri Aczel, 1958, syn. n.; Campylocera caudata (Hendel, 1914), comb. n. = Hypotyphla caudata Hendel, 1914 = Lygiohypotyphla hyalipennis Vanschuytbroeck, 1963, syn. n. = Lygiohypotyphla ruwenzoriensis Vanschuytbroeck, 1963, syn. n.; Campylocera basilewskyi (Vanschuytbroeck, 1963), comb. n. (= Diasteneura basilewskyi Vanschuytbroeck, 1963), Campylocera laticeps (Hendel, 1908), comb. n. (= Diasteneura laticeps Hendel, 1908), Campylocera obscura (Vanschuytbroeck, 1963), comb. n. (= Diasteneura obscura Vanschuytbroeck, 1963), Campylocera similis (Steyskal, 1963), comb. n. (= Diasteneura similis Steyskal, 1963), Campylocera variceps (Curran, 1928), comb. n. (= Diasteneura variceps Curran, 1928), Campylocera nigripennis (Hendel, 1934) comb. n. (= Prohypotyphla nigripennis Hendel, 1934), Campylocera scalaris (Hendel, 1934) comb. n. (= Prohypotyphla scalaris Hendel, 1934).

Cestodes from four badgers (Meles meles) and eight raccoons (Procyon lotor) were studied. The badgers and seven of the raccoons were taken from the wild near the city of Berlin, Germany. This paper is the first record of Atriotaenia incisa (Railliet, 1899) (Cestoda: Anoplocephalidae) from P. lotor in Europe. Atriotaenia incisa is redescribed and compared with morphological descriptions of the North American species Atriotaenia procyonis (Chandler, 1942), a common parasite of the raccoon in Canada and the United States. No morphological differences were found between the two species and it is suggested that they may be conspecific.

Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed June 23, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 306-321).

Les peintres J. Štyrský (1899-1942) et Toyen (1902-1980) sont des figures essentielles de l'avènement du surréalisme à Prague. Le style artificialiste, entre figuration et abstraction, qu'ils créent en 1926 lors de leur séjour parisien, comportent déjà des signes d'affinités avec cette orientation future. Toyen élabore des espaces fluides ou la liquidité, surgie des compositions comme des techniques, évoque l'immersion dans la matière comme on plonge au fond de soi-même. L'espace éclaté de Štyrský, profondément lié à sa vision du monde s'allie peu à peu à des processus délétères et devient révélateur des pulsions de mort à l'oeuvre dans la peinture. La distance qu'ils maintiennent avec le surréalisme est en partie liée à des résistances à l'egard de l'automatisme psychique qui leur semble incompatible avec une pratique qui met l'accent sur le geste, la technique, la matière et la couleur. Cependant, leur intérêt pour le rêve et l'érotisme constituent deux champs ouverts sur l'inconscient à travers lesquels ils se fraient un chemin vers le surréalisme. Les récits de rêve de Štyrský apparaissent comme un matériel essentiel quant à la compréhension de son oeuvre et présentent les mêmes signes que son oeuvre plastique ou ses poêmes. Les productions poétiques de Štyrský sont moins soumises à la préméditation que ses tableaux ; construites sur des associations libres, elles prennent un aspect énigmatique caractéristique des textes surréalistes. Enfin, avec les textes poétiques en prose du debut des années trente qui célèbrent le désir et la femme aimée, Štyrský développe une thématique privilégiée du surréalisme. La peinture de Toyen évolue vers un travail sur une matière plus dense. Elle développe des images nocturnes, lieux favorables au brouillage des repères. Comme le vide et la coupure servent de toile de fond aux rêves de Štyrský, le creux et la fissure deviennent le théâtre des visions oniriques de Toyen et contiennent une dimension érotique manifeste. L'évolution de la peinture de Toyen et Štyrský passe par un abandon des structures planes de l'artificialisme pour des images plus réalistes et illusionnistes et d'autres artistes autour d'eux suivent le même chemin mais ils n'adhèreront pas au surréalisme. Toyen et Štyrský seront les seuls peintres du groupe fondé à Prague en 1934.

La present investigació té com a objecte d’estudi la significació de la figura del maniquí en el surrealisme, entesa com a imatge representativa o simptomàtica de la crisi del model de subjectivitat clàssica. Per fer-ho, es pren com a exemple l’obra fotogràfica de Claude Cahun i la de Jindřich Štyrský, en les quals, sigui com a objecte o com a concepte, la figura del maniquí adquireix un lloc destacat. En aquest sentit, per una banda, es reflexiona entorn la caiguda del subjecte substancial i es planteja la possibilitat d’entendre la figura de l’autòmat, el maniquí o la nina com una image-symptôme d’un subjecte que ha entrat en crisi; d’una altra, s’aprofundeix en el tractament que té aquesta figura en l’obra fotogràfica de Claude Cahun i en la de Jindřich Štyrský. Recorregut que, alhora, ens submergeix en el surrealisme francès i en el surrealisme txec, dos mons aparentment allunyats que, tanmateix, es troben interconnectats. En els capítols introductoris, que serveixen per ubicar la tesi en el seu marc teòric i contextualitzar l’àmbit d’estudi, a més de definir a què ens referim quan parlem de crisi de la subjectivitat clàssica, es planteja un dels punts de partida de la present investigació, és a dir, la possibilitat d’entendre el surrealisme com una expressió del Romanticisme al segle XX. Al llarg d’aquest recorregut, apareixen així des de l’Olímpia d’E.T.A. Hoffmann a Hadaly de Villiers de l’Isle-Adam, al mateix temps que es fa una aproximació a diferents aspectes que ens ajuden a entendre el surrealisme i el tractament que en aquest té la figura del maniquí. En aquest sentit, es realitza una aproximació als fonaments teòrics del surrealisme, així com a aspectes com el mite, la màgia, la infància o la meravella, que ens porten a parlar, al seu temps, d’un rebuig a un sistema polític, econòmic i social. A continuació, en els capítols centrals, prestant atenció al maniquí, al mateix temps que viatgem al París dels surrealistes, descobrim algunes de les principals manifestacions en què aquesta figura participà. Així, de la Rue surréaliste a les Puppen de Hans Bellmer, transitem fins als capítols dedicats a Claude Cahun i Jindřich Štyrský, en els quals, el maniquí, sigui com a objecte o com a concepte, adquireix un rol destacat. És al llarg d’aquest recorregut, una trama interconnectada d’idees en què cada apartat té la seva raó de ser, que assistim a l’adveniment d’un nou tipus de subjecte. Idea del jo entès com a màscara, que evidencia una realitat contingent, mutable i polimòrfica. Un subjecte entès com a procés, mancat de tota possibilitat de síntesi, marcat per l’alteritat i l’inconscient. En aquest sentit, tal com digué Claude Cahun, “je suis autre, un multiple toujours”. La figura del maniquí surrealista, d’aquesta manera, se’ns presenta com una figura transfronterera, una imatge amb valor de símptoma que es relaciona amb un subjecte construït en gran part fora de si mateix. L’inconscient, l’alteritat o la follia, són alguns dels aspectes que es vinculen amb aquesta inquietant figura. Efígie que, com a doppelgänger o com a tout autre, sovint es converteix en un motiu discursiu que ens porta a parlar de l’emergència de nous models de subjectivitat. Així doncs, en el diàleg entre l’humà i l’inhumà, en la imprecisió dels límits que separen el subjecte de l’autòmat, el maniquí esdevé una expressió de l’unheimlich freudià. Figura que, altrament, se’ns presenta com a passatge. Una imatge de la poésie moderne, tal com observava Nezval, que esdevingué un punt de fuga per retrobar la meravella perduda en un món desencantat.
The present research deals with the figure of the mannequin significance in surrealism, understood as a representative or symptomatic image for the crisis of the classic subjectivity model. Our investigation is based on the photographic works of Claude Cahun and Jindřich Štyrský, in which the figure of the mannequin acquires a prominent place, either as an object or as a concept. On the one hand, this leads us to reflect on how the fall of the substantial subject raises the possibility of understanding the figure of the automaton, the mannequin or the doll as an image-symptôme of a subject who has entered into crisis. On the other hand, our work deepens the understanding of the treatment this figure has in the photographic works of Claude Cahun and Jindřich Štyrský. This journey will immerse us in the French and Czech surrealisms at the same time, two apparently remote worlds that are nevertheless interconnected. In this way, the figure of the surrealist mannequin is presented as a cross-border figure, an image bearing a symptomatic value referring to a subject building himself largely outside his own self. The unconscious mind, the otherness, and the madness are some of the aspects intertwined in this disturbing figure. This effigy, as a doppelgänger or a tout autre, often becomes a discursive motive leading to the emergence of new models of subjectivity. Therefore, in the dialogue between human and inhumane, and in the unclear boundaries separating the subject from the automaton, the mannequin becomes an expression of the Freudian unheimlich; this figure is otherwise presented as a passage. As observed by Nezval, this image of poésie moderne has become a point of escape to regain a lost wonder in a disenchanted world.

Cette thèse se propose d’étudier les transferts entre France et Pays tchèques dans le domaine de la photographie de l’entre-deux-guerres. Fondée sur une approche matérielle des circulations de personnes, d’images et de concepts, elle vise à définir la scène photographique tchèque en fonction de son rapport à la France et de ses métissages. L’enquête a porté sur les flux photographiques – reproductions photomécaniques et catalogues d’exposition – et les activités des médiateurs et photographes à l’intersection entre les deux pays. Elle a montré, d’une part, que les Pays tchèques furent non seulement un lieu de passage d’apports français, particulièrement marquants au regard des impulsions allemandes et russes, mais aussi un centre d’exportation d’une production photographique locale. Elle a révélé, d’autre part, les hybridations auxquelles a donné lieu l’accueil de la scène photographique française. Le courant surréaliste tchèque en fut l’exemple le marquant : dépassant le simple geste d’adhésion, cette production originale s’est à son tour exportée, à la faveur d’un processus de circulation et de transformation réciproques caractéristique du phénomène de transfert. Les séjours et expériences photographiques des Tchèques en France et leur contribution à l’ « école de Paris de la photographie » complètent ce panorama des interactions entre les deux pays. Le prisme des transferts culturels adopté dans notre étude a agi comme un révélateur d’acteurs, d’images et de concepts ignorés jusque-là des histoires nationales de la photographie. Il a également montré comment la réceptivité des photographes tchèques vis-à-vis de la France a pu, en retour, favoriser l’émergence du modernisme photographique dans leur pays
This dissertation sets forth to explicate the transfers that occurred in photography between France and the Czech Lands during the interwar period. Rooted in a material approach towards the various circulations of individuals, images and concepts, this study considers the Czech photographic scene in light of its specific relation to France and analyzes the resulting hybridizations. The research focuses on photographic vectors such as photomechanical reproductions, exhibition catalogues and the activities of mediators and photographers working between the two countries. It illuminates a network of relations between French, German and Russian impulses and describes also the export of a local photographic production. The Czech surrealist current is a prominent hybridization that resulted from the strong reception of the French photographic scene. It was exported again as an original Czech production, and as such exemplifies the process of mutual circulation and transformation that describes the concept of transfer. An expansive study of Czech journeys to France, their photographic experience of the country and their subsequent contribution to the “Paris school of photography” complete this overview of the interactions and transfers between both countries.By situating Czech photography within the discourse of cultural transfers, this dissertation reveals actors, images, concepts and developments that until now have been critically absent from national photography histories. It also demonstrates how the receptivity of Czech photographers to France in return favored the emergence of photographic modernism in their country

The need to go deeper into the thinking about Painting has led us to the study of works which display features of differentiated cultures and pieces resulting from the career paths of artists in the global world. In a world, which has, for long been the result of contaminations, it is at the beginning of the 20th century that the outcome of travels, of cultures’ intersections, finds a strong materialization through the artistic avant-gardes, with movements like the Cubism or Dadaism. The European Ethnographic Museums, home of an endless source of identity pieces from the peoples of Africa, Oceania and the Americas, will bring about, both in the artistic field and in terms of theoretical conception, a new look at art. Along with an ethnocentric study of works external to European culture, it is with Carl Einstein that emerges an analysis focused on African sculpture and opposed to the evolutionary theory, which highlights the formal and primeval characteristics of the works. This analysis is the foundation of Carl Einstein’s approach to cubism. Considering the identification of non-western peoples with primitive people, we try to present a perspective on this concept, in order to accept primitive as a state of rupture, as a human component. Transposing the artistic avant-gardes and the concept of primitivism to Portugal, we notice that its influence was shown to be closer to art and to popular culture. With the theories of multiculturalism, interculturality and globalization we come to realize that the miscegenation of non-western peoples with European cultures will cause the proliferation of hybrid territories, identified by Homi Bhabha, Néstor García Canclini and Arjun Appadurai. Hybrid territories are fertile in artistic production, the outcome of the activity of artists who travel the global world, in a state of conflict and appeasement between their origins and the cultures that they absorb. The processes of photomontage and montage are expressed by the thought of Georges Didi-Huberman, based on Aby Warburg, for the simultaneous development of thought and knowledge by montage. This knowledge encompasses the study of Dadaist photomontage, the painting of Hannah Höch, the combine of Robert Rauschenberg and the assemblages of Allan Kaprow, within a framework of formal hybridity. With Allan Kaprow and Sigmar Polke impurity is assumed, which characterizes hybrid territories. From formal hybrid we move to conceptual hybridity with Damien Hirst, in a dual reading of his work. Antoni Muntadas, Luís Felipe Noé and Alfredo Jaar, analysed by García Canclini, dig deeper into questions of cultural hybridity, then extended to the works of Shahzia Sikander, Shirin Neshat, Ghada Amer, Shirazeh Houshiary, Arif Özakça and Barry Reigate, in a meeting with inter-spaces, with inter-times, with interstitial spaces and with spaces in between

The final chapter of Modernism and Still Life crosses the Atlantic to consider the American poet, Wallace Stevens. It argues that his creative project was underpinned by the desire for a transformative attentiveness to the everyday, an ‘illumination of the usual’, which coincides with the still life aesthetic. The chapter is structured around the poet’s annotated personal copy of Aesthetics and Psychology (1935), authored by the French aesthetician, Charles Mauron (1899–1966). Mauron’s text, which Stevens read and closely annotated during the 1930s, provides a unique paradigm through which to approach the poet’s still life meditations in his lyric poetry and criticism, with particular focus on Parts of a World (1942). This chapter reads Stevens’s ‘still life’ poems in the light of two traditions in the pictorial representation of the genre: one characterised by sensuous abundance and the other by ascetic abstinence. Such an approach illuminates the poems’ internal debates about aestheticism and asceticism, absorption and detachment, contemplation and activity and uncovers the ways in which Mauron’s theory of ‘inactive’ and ‘active’ contemplation shaped the poet’s ‘still life aesthetic’. The chapter ends by revealing the nexus between Bloomsbury, Mauron and Stevens.

In Chapters 7 to 11, we have examined a series of recurring themes in the geography of war and disease since 1850 through regional lenses. In this chapter, we conclude our regional–thematic survey by illustrating further prominent themes which, either because of their subject-matter or because of their geographical location, were beyond the immediate scope of the foregoing chapters. In selecting regional case studies for this chapter, we concentrate on wars which have not been examined in depth to this point (the South African War and the Cuban Insurrection) or which, on account of their magnitude and extent, merit examination beyond that afforded in previous sections (World War I and World War II). Four principal issues are addressed: (1) Africa: population reconcentration and disease (Section 12.2), illustrated with reference to civilian concentration camps in the South African War, 1899–1902; (2) Americas: peace, war, and epidemiological integration (Section 12.3), illustrated with reference to the civil settlement system of Cuba, 1888–1902; (3) Asia: prisoners of war, forced labour, and disease (Section 12.4), illustrated with reference to Allied prisoners on the line of the Burma–Thailand Railway, 1942–4; (4) Europe: civilian epidemics and the world wars (Section 12.5), illustrated with reference to the spread of a series of diseases in the civil population of Europe during, and after, the hostilities of 1914–18 and 1939–45. As before, the study sites in (1) to (4) span a broad range of epidemiological environments, from the cool temperate latitudes of northern Europe, through the tropical island and jungle environments of the Caribbean and Southeast Asia, to the warm temperate and subtropical savannah lands of the South African Veld. Diseases have been sampled to reflect this epidemiological range. The South African War (1899–1902) has been described as the last of the ‘typhoid campaigns’ (Curtin, 1998)—a closing chapter on the predominance of disease over battle as a cause of death among soldiers (Pakenham, 1979: 382). From the military perspective, typhoid was indeed the major health issue of the war, accounting for a reported 8,020 deaths in the British Army (Simpson, 1911: 57).