Suchergebnisse

In the second half of the XIXth century, after the unification of Italy, researches and enquiries that had the objective of investigating links between malnutrition and disease were promoted in the city of Naples, the former Capital of the Kingdom of the Two Sicilies. The philosophy underlying these scientific efforts, devoted to the benefit of the lower classes of the population, derived from the famous enquiry into the conditions of the Provinces of the Kingdom of Naples, promoted by the enlightened government of Joachim Murat in 1811. By necessity, the researchers had to address, with the methodological limits of the period, the complex interactions among social, environmental, medical, hygienic and physiologic factors, attempting to enucleate strategies of prevention and of active intervention. The works of Achille Spatuzzi, Luigi Somma, Errico De Renzi and Luigi Manfredi, demonstrated the persistence of poverty and malnutrition among the lower classes of the Neapolitan population and had the merit of being among the first in explicitly recognizing the association between inadequate dietary intake, relative to the needs of the organism, and major diseases, such as rickets, tuberculosis, and anemias.Keywords: History of epidemiology - Environmental malnutrition - Naples - XIX century

Using travelers' diaries and documents from the period as sources, the article presents the main war roads during the XIXth century. It emphasizes in their role as battle theaters and sources of economic and social capital. In an agrarian society as that of the XIXth century, roads represented territorial stri pes of geostrategic importance for battles. Political power sources and war spaces were located near such roads. In a time when war was mainly a war of positions, roads bordered not only economic structures, but also the geography of war. Special attention is given to the roads crossing the region of Valle and Cañón del Cauca delimited by Popayán's high prairies and Batolito Antioqueño. The aforementioned region became a space containing warlike processes: Not only one of the most progressive economies of the nation was located there but also a war geohistoric space crisscrossed by a set of roads that facilitated the movement of armed actors through all of the national territory. ; Utilizando como fuentes las memorias de los viajeros y documentos de la época, el artículo presenta los princi pales caminos de la guerra durante el siglo XIX. Hace énfasis en su papel como teatro de los enfrenamientos armados y fuente de recursos económicos y sociales. En una sociedad agraria como la del siglo XIX, los caminos demarcaban franjas territoriales de la mayor importancia geoestratégica para las luchas armadas. En sus cercanías estaban situadas las fuentes del poder económico y político y los espacios de la guerra. En una época donde la guerra era ante todo una guerra de posiciones, los caminos demarcaban no sólo las estructuras económicas, sino también las geografías de la guerra. En el escrito se presta especial atención a las vías que atravesaban la región del Valle y Cañón del Cauca, delimitada por el alti plano de Popayán y el batolito antioqueño. Dicha región se fue conformando como una estructura espacial contenedora de los procesos bélicos: allí no sólo se encontraba una de las economías más dinámicas de la nación sino también un espacio geohistórico de la guerra atravesado por un conjunto de caminos que posibilitaba el desplazamiento de los actores armados por los puntos cardinales de la República.

Using travelers' diaries and documents from the period as sources, the article presents the main war roads during the XIXth century. It emphasizes in their role as battle theaters and sources of economic and social capital. In an agrarian society as that of the XIXth century, roads represented territorial stri pes of geostrategic importance for battles. Political power sources and war spaces were located near such roads. In a time when war was mainly a war of positions, roads bordered not only economic structures, but also the geography of war. Special attention is given to the roads crossing the region of Valle and Cañón del Cauca delimited by Popayán's high prairies and Batolito Antioqueño. The aforementioned region became a space containing warlike processes: Not only one of the most progressive economies of the nation was located there but also a war geohistoric space crisscrossed by a set of roads that facilitated the movement of armed actors through all of the national territory. ; Utilizando como fuentes las memorias de los viajeros y documentos de la época, el artículo presenta los princi pales caminos de la guerra durante el siglo XIX. Hace énfasis en su papel como teatro de los enfrenamientos armados y fuente de recursos económicos y sociales. En una sociedad agraria como la del siglo XIX, los caminos demarcaban franjas territoriales de la mayor importancia geoestratégica para las luchas armadas. En sus cercanías estaban situadas las fuentes del poder económico y político y los espacios de la guerra. En una época donde la guerra era ante todo una guerra de posiciones, los caminos demarcaban no sólo las estructuras económicas, sino también las geografías de la guerra. En el escrito se presta especial atención a las vías que atravesaban la región del Valle y Cañón del Cauca, delimitada por el alti plano de Popayán y el batolito antioqueño. Dicha región se fue conformando como una estructura espacial contenedora de los procesos bélicos: allí no sólo se encontraba una de las economías más dinámicas de la nación sino también un espacio geohistórico de la guerra atravesado por un conjunto de caminos que posibilitaba el desplazamiento de los actores armados por los puntos cardinales de la República.

The article analyses illegitimate births as a life course phenomenon for women in the Sundsvall region in northern Sweden during the nineteenth century. In the middle of the century 9% of all children were born out of wedlock in Sweden. By the end of the nineteenth century their numbers had increased to 11%. Illegitimacy was mainly concentrated to urban areas. In the town of Sundsvall it exceeded 20% during the second half of the nineteenth century.
It is argued that chances of survival for illegitimate infants were mainly caused by poverty. A majority of the women with illegitimate children managed to find a husband. The marriage resulted in increased chances of survival for children born within wedlock. An illegitimate births was usually the result of the first pregnancy of a young woman and an isolated event in her life course, which supports the argument that poverty and not marginalisation was the main cause for high illegitimate infant mortality. There were of course exceptions. Marginalisation and biological factors still played an important role in many cases. Some women in Sundsvall gave repeatedly birth to illegitimate children and were subsequently in a less favourable situation. They were to a much larger extend marginalised and less then 50% married if they had life histories with three or more illegitimate children. The article also analyses the importance of supportive kin networks for lone mothers, but argues that they played a less significant role for the survival of infants in comparison with, for instance, the number of illegitimate births experienced by the woman and birth intervals. The different life courses and the fates.

Representing democracy and the development of the political persona in the XIXth century Romanian political discourse means, first of all, to focus the analysis on the implications the concept of democracy could provide. In the first half of the XIXth century, the concept of Romanian democracy and its place within political discourse are conditioned by philosophical and historiographical discontinuities between the periods, the intellectual sources, as well as the political and institutional framework of that time. Within that context, democracy should be regarded as a fundamental concept to political and institutional development in the beginning of the XIXth century. The present article goes on this path, analyzing some examples of political discourse during the period of establishment of the fundamental democratic institutions in the Romanian modernity.

The article focuses on the XIXth century Irish historical political discourse, which presents the question of constructing an independent Irish state. Historical political discourse is a description of the Irish political history of 1843−1849. It is noted that organizations that emerged in the mid−XIXth century interpreted the issue of creating an Irish state in political doctrines ambiguously. The study of extra-linguistic data revealed the variability of the concept "independence", which was the key to constructing the semantic field "Irish independence"

The article presents the analysis of the literature of travel of French authors of the XIXth century. Authers put the aim to create the general investigation dedicated to this therm, bringing in the quality of the source base as a quite famous works of the French travelers and writers, and little-known to a wide circle of readers. XIX century is a time of expanding cultural, humanitarian, diplomatic contacts between Russia and France, which resulted in an increase in the number of foreigners who traveled to Russia, and, consequently, of the works explaining all the features of the trip, impressions, fears, etc. During this period, the Europeans started to visit not only Moscow and Saint Petersburg, but also Siberia, the Far East, the geography of travelling considerably expanded, and new works of foreigners about Russia appeared. Still, as in the previous epoch, the French authors writed about traditions and mores, the state and social structure, religious peculiarities, the culture of Russia. In general, the travel literature on Russia is significantly enriched, indicating the increasing interest of the Russian state. It is not only about informative motives, but also need to learn the realities of the Russian state, the mood in society, the level of military capabilities etc. Notes of a travelling foreigners were thus provided very valuable information about the state of affairs in Russia, it was important for European readers and, of course, diplomats, military and the rulers of other states. Of course, the French authors reproduced pictures seen in Russia through the prism of their own experience, political affiliation, certain stereotypes and myths about the Russian state and people, developed in a previous era. However, despite a certain subjectivity in the estimates and judgments, the works of French authors are a very valuable source in the framework of imagological research, studying the image of «their» and «alien» in the view of Europeans of the XIX century. © Copyright 2017 by Sochi State University.

The purpose of the article: analysis of socio-historical circumstances of musical and religious creativity of Ukrainian composers of the 19th century in the conditions of belonging of the Ukrainian lands to different empires – Russian and Austrian (Austro-Hungarian). The methodology of the research includes the historical method necessary for the peculiarities analysis of the composers' music-religious creativity development of the Dnieper and Western Ukraine in the long evolutionary process, the traditions of performance and the formation of the foundations of composer's creativity; retrospective and structural-systemic methods in the studios of specific music and religious artifacts; historical and comparative principle in tracing the socio-political circumstances of composing religious music of the nineteenth century, as well as in determining its role in a particular socio-historical environment. The research novelty of the article is to present religious works of the most prominent representatives of the musical culture of the Dnieper and Western Ukraine of the 19th century, M. Lysenko and M. Verbitsky – canonical or religiously related – from the standpoint of historical processes in the Russian Empire and the Austrian Empire, as well as in covering the peculiarities of the musical language of the works mentioned. The connection between the choice of genre model and the system of musical and expressive means and the specific historical and social circumstances in which they were written, allows understanding the motivation of the composers' appeal to sacred genres or religious subjects, the intensity of their creative ideas regarding the choice of means and forms of spiritual content. The Conclusions. Thus, the historical and political prerequisites that emerged in the Ukrainian society of the nineteenth century in the Russian and Austrian empires, conditioned both the motivation of the composers to appeal to religious genres and themes, and the specificity of their individual interpretation of the musical language in these works. For M. Lysenko, the most important thing was to emphasize the national and patriotic orientation of spiritual works, as well as the reliance on folk-ritual sources and the conscious continuation of the centuries-old tradition of spiritual music. Instead, the post-Lysenko school, especially his students and followers, give such vivid examples of spiritual music as the liturgical opuses of Kyrylo Stetsenko, Mykola Leontovych, Oleksandr Koshyts and others. In them, the "sacral and secular" parity is already being revealed in a new worldview dimension, in accordance with new historical realities in the struggle for the consolidation of the Ukrainian idea. In Western Ukrainian music and religious work, the Bortniansky tradition, and more broadly – the spiritual concert of the eighteenth century, played the role of a national standard up to the beginning of the twentieth century, when young generations (Stanislav Liudkevych, Vasyl Barvinskyi, Nestor Nyzhankivskyi, etc.) define the task of music in society in a new way, and thus rethink its artistic and expressive system. They do not abandon the numerous and varied allusions to biblical themes, the use of characteristic intonational appeals formed in spiritual genres, but give them a completely different, more modern figurative-aesthetic and stylistic interpretation, consistent with the historical changes in the life of Ukrainian society.

The purpose of the article: analysis of socio-historical circumstances of musical and religious creativity of Ukrainian composers of the 19th century in the conditions of belonging of the Ukrainian lands to different empires – Russian and Austrian (Austro-Hungarian). The methodology of the research includes the historical method necessary for the peculiarities analysis of the composers' music-religious creativity development of the Dnieper and Western Ukraine in the long evolutionary process, the traditions of performance and the formation of the foundations of composer's creativity; retrospective and structural-systemic methods in the studios of specific music and religious artifacts; historical and comparative principle in tracing the socio-political circumstances of composing religious music of the nineteenth century, as well as in determining its role in a particular socio-historical environment. The research novelty of the article is to present religious works of the most prominent representatives of the musical culture of the Dnieper and Western Ukraine of the 19th century, M. Lysenko and M. Verbitsky – canonical or religiously related – from the standpoint of historical processes in the Russian Empire and the Austrian Empire, as well as in covering the peculiarities of the musical language of the works mentioned. The connection between the choice of genre model and the system of musical and expressive means and the specific historical and social circumstances in which they were written, allows understanding the motivation of the composers' appeal to sacred genres or religious subjects, the intensity of their creative ideas regarding the choice of means and forms of spiritual content. The Conclusions. Thus, the historical and political prerequisites that emerged in the Ukrainian society of the nineteenth century in the Russian and Austrian empires, conditioned both the motivation of the composers to appeal to religious genres and themes, and the specificity of their individual interpretation of the musical language in these works. For M. Lysenko, the most important thing was to emphasize the national and patriotic orientation of spiritual works, as well as the reliance on folk-ritual sources and the conscious continuation of the centuries-old tradition of spiritual music. Instead, the post-Lysenko school, especially his students and followers, give such vivid examples of spiritual music as the liturgical opuses of Kyrylo Stetsenko, Mykola Leontovych, Oleksandr Koshyts and others. In them, the "sacral and secular" parity is already being revealed in a new worldview dimension, in accordance with new historical realities in the struggle for the consolidation of the Ukrainian idea. In Western Ukrainian music and religious work, the Bortniansky tradition, and more broadly – the spiritual concert of the eighteenth century, played the role of a national standard up to the beginning of the twentieth century, when young generations (Stanislav Liudkevych, Vasyl Barvinskyi, Nestor Nyzhankivskyi, etc.) define the task of music in society in a new way, and thus rethink its artistic and expressive system. They do not abandon the numerous and varied allusions to biblical themes, the use of characteristic intonational appeals formed in spiritual genres, but give them a completely different, more modern figurative-aesthetic and stylistic interpretation, consistent with the historical changes in the life of Ukrainian society.

The purpose of the article: analysis of socio-historical circumstances of musical and religious creativity of Ukrainian composers of the 19th century in the conditions of belonging of the Ukrainian lands to different empires – Russian and Austrian (Austro-Hungarian). The methodology of the research includes the historical method necessary for the peculiarities analysis of the composers' music-religious creativity development of the Dnieper and Western Ukraine in the long evolutionary process, the traditions of performance and the formation of the foundations of composer's creativity; retrospective and structural-systemic methods in the studios of specific music and religious artifacts; historical and comparative principle in tracing the socio-political circumstances of composing religious music of the nineteenth century, as well as in determining its role in a particular socio-historical environment. The research novelty of the article is to present religious works of the most prominent representatives of the musical culture of the Dnieper and Western Ukraine of the 19th century, M. Lysenko and M. Verbitsky – canonical or religiously related – from the standpoint of historical processes in the Russian Empire and the Austrian Empire, as well as in covering the peculiarities of the musical language of the works mentioned. The connection between the choice of genre model and the system of musical and expressive means and the specific historical and social circumstances in which they were written, allows understanding the motivation of the composers' appeal to sacred genres or religious subjects, the intensity of their creative ideas regarding the choice of means and forms of spiritual content. The Conclusions. Thus, the historical and political prerequisites that emerged in the Ukrainian society of the nineteenth century in the Russian and Austrian empires, conditioned both the motivation of the composers to appeal to religious genres and themes, and the specificity of their individual interpretation of the musical language in these works. For M. Lysenko, the most important thing was to emphasize the national and patriotic orientation of spiritual works, as well as the reliance on folk-ritual sources and the conscious continuation of the centuries-old tradition of spiritual music. Instead, the post-Lysenko school, especially his students and followers, give such vivid examples of spiritual music as the liturgical opuses of Kyrylo Stetsenko, Mykola Leontovych, Oleksandr Koshyts and others. In them, the "sacral and secular" parity is already being revealed in a new worldview dimension, in accordance with new historical realities in the struggle for the consolidation of the Ukrainian idea. In Western Ukrainian music and religious work, the Bortniansky tradition, and more broadly – the spiritual concert of the eighteenth century, played the role of a national standard up to the beginning of the twentieth century, when young generations (Stanislav Liudkevych, Vasyl Barvinskyi, Nestor Nyzhankivskyi, etc.) define the task of music in society in a new way, and thus rethink its artistic and expressive system. They do not abandon the numerous and varied allusions to biblical themes, the use of characteristic intonational appeals formed in spiritual genres, but give them a completely different, more modern figurative-aesthetic and stylistic interpretation, consistent with the historical changes in the life of Ukrainian society.

This paper studies the effect of strengthening democracy, as captured by an increase in voting rights, on the incidence of violent civil conflict in nineteenth-century Colombia. Empirically studying the relationship between democracy and conflict is challenging, not only because of conceptual problems in defining and measuring democracy, but also because political institutions and violence are jointly determined. We take advantage of an experiment of history to examine the impact of one simple, measurable dimension of democracy (the size of the franchise) on con- flict, while at the same time attempting to overcome the identification problem. In 1853, Colombia established universal male suffrage. Using a simple difference-indifferences specification at the municipal level, we find that municipalities where more voters were enfranchised relative to their population experienced fewer violent political battles while the reform was in effect. The results are robust to including a number of additional controls. Moreover, we investigate the potential mechanisms driving the results. In particular, we look at which components of the proportion of new voters in 1853 explain the results, and we examine if results are stronger in places with more political competition and state capacity. We interpret our findings as suggesting that violence in nineteenth-century Colombia was a technology for political elites to compete for the rents from power, and that democracy constituted an alternative way to compete which substituted violence.