Relevant bibliographies by topics / History of art, 19th century

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'History of art, 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "History of art, 19th century"

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Herucová, Marta. "Case Studies in the 19th Century History of Art." Acta Historiae Artium 49, no. 1 (2008): 351–59. http://dx.doi.org/10.1556/ahista.49.2008.1.38.

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Tawadros, Çeylan. "Foreign bodies: Art history and the discourse of 19th‐century orientalist art." Third Text 2, no. 3-4 (1988): 51–67. http://dx.doi.org/10.1080/09528828808576189.

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Peckhaus, Volker. "19th Century Logic Between Philosophy and Mathematics." Bulletin of Symbolic Logic 5, no. 4 (1999): 433–50. http://dx.doi.org/10.2307/421117.

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AbstractThe history of modern logic is usually written as the history of mathematical or, more general, symbolic logic. As such it was created by mathematicians. Not regarding its anticipations in Scholastic logic and in the rationalistic era, its continuous development began with George Boole's The Mathematical Analysis of Logic of 1847, and it became a mathematical subdiscipline in the early 20th century. This style of presentation cuts off one eminent line of development, the philosophical development of logic, although logic is evidently one of the basic disciplines of philosophy. One needs only to recall some of the standard 19th century definitions of logic as, e.g., the art and science of reasoning (Whateley) or as giving the normative rules of correct reasoning (Herbart).In the paper the relationship between the philosophical and the mathematical development of logic will be discussed. Answers to the following questions will be provided:1. What were the reasons for the philosophers' lack of interest in formal logic?2. What were the reasons for the mathematicians' interest in logic?3. What did “logic reform” mean in the 19th century? Were the systems of mathematical logic initially regarded as contributions to a reform of logic?4. Was mathematical logic regarded as art, as science or as both?
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Arutynyan, A. A. "German history of art of 19th century and problems of Armenian Medieval heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 147–50. http://dx.doi.org/10.30725/2619-0303-2017-2-147-150.

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The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.
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Neset, Arne. "Rowing in Eden: Waterscapes in 19th Century American Art and Literature." American Studies in Scandinavia 30, no. 1 (1998): 1–16. http://dx.doi.org/10.22439/asca.v30i1.1114.

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Green, Nile. "Technologies of the Image: Art in 19th-Century Iran." Iranian Studies 51, no. 5 (2018): 795–99. http://dx.doi.org/10.1080/00210862.2018.1488390.

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Tena Ramírez, Carmen de. "Precedentes de la institucionalización de la Historia del Arte en España: los estudios histórico-artísticos en el siglo XIX = Precedents of the institutionalisation of Art History in Spain: Historical and artistic studies in the 19th century." REVISTA DE HISTORIOGRAFÍA (RevHisto) 31 (September 23, 2019): 253. http://dx.doi.org/10.20318/revhisto.2019.4882.

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Resumen: El objetivo de este artículo es ofrecer una visión general acerca de los estudios histórico-artísticos realizados y publicados en España a lo largo del siglo XIX, así como poner de manifiesto que estos trabajos dieron base y fundamento a la posterior institucionalización de la Historia del Arte en la universidad española a comienzos de la centuria siguiente. Comenzamos nuestro texto con un estado de la cuestión para subrayar la necesidad de acometer esta clase de estudios; seguidamente exponemos una amplia perspectiva diacrónica sobre las circunstancias históricas que rodearon la práctica historiográfica del siglo XIX, sus características y quiénes fueron sus artífices. Terminamos este trabajo con una breve reflexión acerca del alcance de la investigación decimonónica y sus efectos en la institucionalización de la Historia del Arte en España.Palabras clave: historiografía artística, historia de la Historia del Arte en España, Restauración borbónica, Historia del Arte y Arqueología, fuentes para la Historia del Arte.Abstract: This articles aims chiefly to provide an overview of the historical-artistic studies carried out and published in Spain throughout the 19th century and to show that these works provided the basis and foundation for the subsequent institutionalisation of Art History in Spanish universities in the early 20th century. It begins with a summary underlining the need for this kind of study, then paints a broad diachronic perspective on the historical circumstances surrounding the historiographic practice of the 19th century, its characteristics and its writers. It ends with a brief consideration of the scope of 19th century research and its effects on the institutionalisation of Art History in Spain.Key words: Art Historiography, history of Art History in Spain, Bourbon restoration, Art History and Archaeology, Sources for Art History.
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Baptista, Sofia. "O Que Pode “O Médico” de Sir L. Fildes Dizer-nos Hoje." Acta Médica Portuguesa 28, no. 4 (2015): 540. http://dx.doi.org/10.20344/amp.6743.

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Karstein, Uta. "Konkurrenzbeziehungen: Allgemeine und konfessionelle Kunstvereine im Kunstfeld des 19. Jahrhunderts." Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, no. 2 (2020): 334–44. http://dx.doi.org/10.1515/iasl-2020-0019.

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AbstractThe article compares secular and faith-based art societies in the 19th century. Of special interest are the societies’ missions and purposes, as well as their activities and organizational structures. The main thesis is based on the work of German sociologist Georg Simmel and his conflict theory. I argue that the competition of these societies had invigorating effects on the field of art and its institutionalization in the course of the 19th century.
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Smith, Karen Manners. "Exhibit Review: Angels and Tomboys: Girlhood in 19th-Century American Art." Public Historian 36, no. 1 (2014): 123–27. http://dx.doi.org/10.1525/tph.2014.36.1.123.

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Dissertations / Theses on the topic "History of art, 19th century"

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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.

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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Lawrence, Ranald Andrew Robert. "Cultural climates : the municipal art school and the reformulation of civic identity in Victorian Britain." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709252.

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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.

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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Smith, Katherine. "Continuity and Change in a 19th Century Illustrated Devi Mahatmya Manuscript From Nepal." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3564.

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In the Hindu tradition of the Indian subcontinent, worship of the goddess has long been practiced as supreme embodiment of the divine. Around the second century, a Sanskrit Purana (ancient Hindu text that extols deities) titled the Markandeya Purana details the battles of the supreme Goddess Durga against the illusions and negative energy in the universe. This textual version of the Devi Mahatmya “Praise of the Goddess” serves as the foundation for the nineteenth century Nepalese illustrated Devi Mahatmya, commissioned by Tej Bahadur Rana from Pokhara district in Nepal. Because the folios closely follow the textual Devi Mahatmya, the illustrations’ amalgamation of styles demonstrates a double entendre of religious and political frameworks represented through Indian religious iconography with localized motifs and styles from Nepal. In this study, I argue that the illustrated Nepalese Devi Mahatmya indicates a shift in power from the Shah aristocracy to Rana oligarchy. This Devi Mahatmya contextualizes the social, religious, and historical events of nineteenth century Nepal, as a unique extension to the current scholarship about the Devi Mahatmya since it is dated and has a known patron. The intentional amalgamation of previous Newar styles, localized elements, and European décor reveals the mythical being contemporized, that is, drawing from English modernism to empower the Rana family, adding a unique flair to this manuscript as opposed to previous Devi Mahatmyas of Indian Guler or Newar style. Within the nineteenth century Nepali Devi Mahatmya, the background of this Devi Mahatmya is Guler-inspired, utilizing lightly hued backgrounds and landscapes, suggesting that the artist(s) had observed Guler compositions prior to this commission. The Nepali and Newar motifs contextualizes the Devi Mahatmyas commissioning in Pokhara, as these elements comment on the clan patriarch Jung Bahadur Rana and uncle of the patron usurping power from the Shah king, asserting a new Rana oligarchy that would last until 1951. As a result, this Devi Mahatmya is used as an offering to the goddess to legitimize Prime Minister Jung Bahadur Rana and the nephews that would follow his legacy.
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Ignatidou, Artemis. "Four short (hi)stories of a 19th century Greek-European musical interaction, and the cultural outcomes thereof." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16094.

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The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.<br>Includes bibliographical references (p. 183-225).<br>This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.<br>by Michelle Leah Hoeffler.<br>S.M.
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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.

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Art History<br>M.A.<br>This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.<br>Temple University--Theses
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Mueller-Heubach, Oliver Maximilian. "From Kaolin to Claymount: Landscapes of the 19th-Century James River Stoneware Industry." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623630.

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This dissertation will examine the James River stoneware tradition, which encompasses parts of Henrico, Dinwiddie, Prince George, and Charles City Counties, south and east of the Falls of the James at Richmond, Virginia. This area has one of the richest histories in American ceramics. The essential elements of stoneware production will be examined. This dissertation will provide the only comprehensive overview of this regional industry with in depth descriptions of the relevant potteries, potting families and their environment. Detailed description of ceramic forms and decorations specific to individual potters will be provided. The archaeological research done at the potting sites, much of it participated in by the author will be presented. This will allow future attribution and dating of James River stoneware.;Landscapes of the 19th century James River stoneware industry will be explored and the nature of the potters' craft and community will be analyzed within the Meshwork as used by Tim Ingold. Through applications of both structural and semiotic approaches the production, relationships, and landscapes of the potteries will be organized and problematized. An effort will be made to provide as deep and broad a context as possible including social, political, and economic conditions. Archaeological, historical, and oral data will be used to understand the potters' habitus and the roles of artisans, their neighbors, landscapes and artifacts in actively creating that world.
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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Books on the topic "History of art, 19th century"

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(Sweden), Nationalmuseum, ed. Modern life: France in the 19th century. Nationalmuseum, 2012.

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Art in literature, literature in art in 19th century France. Cambridge Scholars, 2012.

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Tucker, Spencer. Handbook of 19th century naval warfare. Sutton Pub., 2000.

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Warfare in the 19th century. Raintree Steck-Vaughn, 1999.

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Gallery, Whitworth Art. A decorative art: 19th century wallpapers in the Whitworth Art Gallery. Whitworth Art Gallery?, 1985.

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Club, Antique Collectors', ed. Animal embroideries and patterns from 19th century Vienna. Antique Collectors' Club, 2002.

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Katz, Marshall P. 19th century French followers of Palissy: A history of 19th century French ceramists from Avisseau to Renoleau. s.n.], 1994.

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Dodd, Craig. Going to war in the 19th century. Franklin Watts, 2001.

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The politics of vision: Essays on 19th century art and society. Harper & Row, 1989.

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Gibson, Ron. 19th century patterned art glass chamber lamps: Identification & value guide. Collector Books, 2009.

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Book chapters on the topic "History of art, 19th century"

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Hall, Robert A. "19th-Century Italian." In The History of Linguistics in Italy. John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.33.11jal.

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Driel, Lodewijk van. "19th-Century Linguistics." In The History of Linguistics in the Low Countries. John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/sihols.64.10dri.

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Roberts, Adam. "Early 19th-Century SF." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_6.

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Vannatta, Seth. "The 19th Century and History." In Conservatism and Pragmatism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137466839_4.

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Gallarotti, Giulio M. "The 19th century conferences." In A History of International Monetary Diplomacy, 1867 to the Present. Routledge, 2021. http://dx.doi.org/10.4324/9781315732435-3.

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Green, Michael D., and Theda Perdue. "Native-American History." In A Companion to 19th-Century America. Blackwell Publishers Inc., 2007. http://dx.doi.org/10.1002/9780470998472.ch16.

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Kay, A. Barry. "Landmarks in Allergy during the 19th Century." In History of Allergy. S. KARGER AG, 2014. http://dx.doi.org/10.1159/000358477.

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Franco, Raquel Campos, Lili Wang, Pauric O’Rourke, et al. "Civil Society History V: 19th Century." In International Encyclopedia of Civil Society. Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_529.

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DiCristina, Bruce. "Criminology in 19th-Century France." In The Handbook of the History and Philosophy of Criminology. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119011385.ch4.

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Sawaie, Mohammed. "An Aspect of 19th-Century Arabic Lexicography." In History and Historiography of Linguistics. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.20saw.

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Conference papers on the topic "History of art, 19th century"

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Wozniakowski, Arkadiusz. "THE EASTERN BATTERY IN SWINOUJSCIE, POLAND � HISTORY AND ARCHITECTURE OF A PRUSSIAN COASTAL FORT FROM THE 19th CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.077.

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Tsydene, Shirap. "Pre-Revolutionary Historiography of the History of Local Self-Government in Buryat." In Irkutsk Historical and Economic Yearbook 2020. Baikal State University, 2020. http://dx.doi.org/10.17150/978-5-7253-3017-5.53.

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With the inclusion of Buryats in the Russian state, the need arose to create management mechanisms and inclusion are of the Buryats in Russian culture. This need became the subject of research by theoreticians of scientific thought and state building, which formed over the 19th century, the historiographic foundation. The article highlights the issues formed and the development of historiography on the history of local self-government.
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Siviero, E., and V. Martini. "Bridges in the World Heritage List Between Culture and Technical Development." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0153.

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&lt;p&gt;The aim of this paper is to present some bridges inscribed in the UNESCO World Heritage List and their Outstanding Universal Values, which explain the importance of these works of art in terms of engineering, technology, culture and technical development. The Iron Bridge, the first metal bridge in the history of construction, is of considerable importance, not only in historic, technological and constructive terms: here, architecture and engineering are revealed to the full, making the bridge into a place. The Forth Bridge is a globally-important triumph of engineering, representing the pinnacle of 19th century bridge construction and is without doubt the world’s greatest trussed bridge. The Vizcaya Bridge, completed in 1893, was the first bridge in the world to carry people and traffic on a high suspended gondola and was used as a model for many similar bridges in Europe, Africa and America, only a few of which survive. The Mostar Bridge is an exceptional and universal symbol of coexistence of communities from diverse cultural, ethnic and religious backgrounds. The Oporto bridges, interpreted in Vitruvian terms, represent a heritage, a “set of spiritual, cultural, social or material values that belong, through inheritance or tradition, to a group of people…”, a complex grouping that marks and symbolises an era, the Eiffel's masterpiece. Because the bridge is not only a work of art, but also a thought.&lt;/p&gt;
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Roelofs, Michelle B. "Mass Timber: 19 Century to Today." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0634.

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&lt;p&gt;New mass timber technologies are entering the US market allowing for innovative, sustainable, and affordable designs. As the market embraces mass timber it is important to reflect on the history of mass timber and to learn best practices to ensure sustainable growth of this sector. This paper will discuss the evolution of mass timber in three parts:&lt;/p&gt;&lt;p&gt;19th Century: Large sawn timbers were used to construct impressive warehouse structures that still remain functional and beautiful in our cities today. Logging practices of this era led to deforestation in parts of the Americas before the rise of steel and concrete as dominant building materials.&lt;/p&gt;&lt;p&gt;20th Century: Mass timber using adhesives emerged in the 20th century. The novel idea of adhering small dimensioned lumber together to create massive elements is the genesis of all modern mass timber technology. This practice allows for timber to be sustainably harvested for structural applications.&lt;/p&gt;&lt;p&gt;21st Century: Cross Laminated Timber (CLT) has quickly shifted from a bespoke building material to an affordable system being used to address the pressing need for affordable housing. 475 W. 18&lt;span&gt;th&lt;/span&gt; St is a model project that was used to compare the carbon impact of building a multi-family residential building as compared to conventional reinforced concrete.&lt;/p&gt;
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Softaoğlu, Hidayet. "Unhuman Entities that Shaped a Century: Non- Anthropocentric Analysis of the Case of Great Stink and Pandemic, Victorian London." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021268n5.

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The history of architectural and urban design has expanded its scope and started adopting new philosophical approaches from other disciplines to explore the built environment. Theorist discusses whether we still live in a humanist world where a human being has more priority over the unhuman things or not to answer that; should we design architecture and urban within an anthropocentric approach. As a recent pandemic show, things that are not human, like animals or viruses, could control and navigate a new style of living. This research will introduce Bruno Latour's ANT and Graham Harman's Object-Oriented Ontology (OOO) as a new constructive method to analyse how human and unhuman bodies are equally the affective actors of daily practices in the urban realm. 19th-century Great Stink and epidemic in Victorian London will be a case study to picture urban dwellers of London that shaped determined the destiny of health and hygiene of London in 1858.
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Sorge, Greg. "Feedback and Mapping Control of Natural Gas Engines." In 2002 4th International Pipeline Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/ipc2002-27397.

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Automatic controls have been used on all types of machinery since the first complicated machines became popular in the 19th century. Controls are used to maintain pressures, temperatures, operating speeds, flows and many other operating parameters. Natural gas engines have used a variety of controls for various purposes since the first natural gas engines were produced. This paper will discuss the history of mechanical controls used on natural gas engines and the introduction and application of electronic controls. The paper will discuss open loop (mapping) and closed loop (feedback) type controls and common applications of each. Mechanical control systems such as governors, fuel regulators, fuel mixing valves, thermostats, and turbocharger wastegates will be discussed and classified as open or closed loop controls. Electronic control systems such as governors, air/fuel ratio controls, detonation controls, and turbocharger controls will also be discussed and classified. This paper will also discuss state of the art controls which perform numerous functions to get desired performance, and can be communicated with remotely.
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7

Kovaleva, M. V., and O. V. Mikhailov. "Search for Ways to overcome the Crisis by Representatives of Russian Religious Thought." In General question of world science. Наука России, 2021. http://dx.doi.org/10.18411/gq-31-03-2021-61.

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The crisis at the turn of the 19th and 20th centuries affected different countries and different aspects of social life, which was inevitable both due to geographical proximity and cultural, economic, political and other intersections. Addressing the topic of the sociocultural crisis was characteristic of both Russian and Western European philosophers of the early 20th century. The author in the article refers to the understanding of its features and ways to overcome it in the context of the ideas of Russian religious philosophers. An integral feature of Russian philosophical thought in the context of assessing the ongoing social changes and the search for ways out of a crisis situation is an understanding of the special purpose of Russia and an awareness of its role in human history. The works of Russian philosophers are full of anxiety about the future of mankind, about the fate of Russia, a premonition of possible death, therefore it is no coincidence that the appeal to the theme of the Apocalypse, the impending catastrophe, the end of history is perceived as a real threat to the existence of mankind. With all the diversity of approaches to assessing the sociocultural crisis, Russian thinkers are united by common philosophical roots, religion, national and cultural traditions. In the context of understanding the crisis processes of the early twentieth century, Russian religious thinkers raise the question of the role and significance of a person in the transformation of life, thereby actualizing the moral and anthropological problems.
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Duinker, Margreet, Peter Rowe, and Wu Liangyong. "Urban Housing." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.3.

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Down through the centuries, Amsterdam has always been a compactly built city. There were good reasons for the compactness. It was not easy to make the marshy ground suitable for building. Water courses had to be filled in, marshlands drained, dikes had to be constructed and canals dug. Until the 19th century, the city had to be defended by walls and city ramparts from the surrounding dangers. It was only safe to life inside those walls. Even now there are still good reasons for continuing to build compactly. The Netherlands is a densely populated country where space and nature are scarce; the space we have has to well used, so city expansions were always carefully planned. There’s always been a tension between the need to build compactly and the quality of living in the city. In the history of Amsterdam can be seen how it was necessary to choose between density and space. In periods when the economy was flourishing, such as the 17th century, the city allowed itself more space. In periods of stagnation, buildings were placed increasingly close to each other. But, as architect Rietveld said, “In a properly built city, the scale of a dwelling can be closer to that of a big roomy coat with inside pockets than to a castle.”
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Masuyama, Yutaka, Kensaku Nomoto, and Akira Sakurai. "Numerical Simulation of Maneuvering of "Naniwa-maru," A Full-scale Reconstruction of Sailing Trader of Japanese Heritage." In SNAME 16th Chesapeake Sailing Yacht Symposium. SNAME, 2003. http://dx.doi.org/10.5957/csys-2003-015.

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Numerical simulation of maneuvering of “Naniwa-maru" was performed to clarify the maneuver characteristics in particular with wearing operation. "Naniwa-maru" belongs to a type called Higaki-kaisen, and the Higaki-kaisen is a type of the more generic class of vessels named "Bezai-ship". Bezai-ship are typical Japanese sailing traders in the 18th to the mid- 19th century which have different appearance and construction from those of Western tall ships. The present paper shows the numerical simulation of her wearing operation, and the results compared with the measured data. The equations of motion dealt with coupled ship motions of surge, sway, roll and yaw with co-ordinate system using horizontal body axes. The numerical simulation indicates ship response according to the measured time history of rudder angle, and shows the ship trajectory and the sailing state parameters such as heading angle, leeway angle, heel angle and velocity. The calculated results indicated the ship performance very well.
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Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose." In International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.

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The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.
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