738 research outputs found
The Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917
Review of: The Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917. Gjerde, Jon
The Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917
Review of: The Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917. Gjerde, Jon
Közös válasza Rubio GuillĂ©nnĂ©, szĂĽl. grĂłf Apraxin JĂşliának (Molec Dani pozsonyi ĂĽgyvĂ©d által) ... a 15277. / p. 1893 sz. keresettel indĂtott rendes perben
Ursula Hicks: My Early Life (Up to The Age of 12)
Ursula Hicks (nee Webb) is well known for her contributions to public finance and development economics, and in her role as founding editor of Review of Economic Studies. After a brief introduction to Ursula Hicks’s complex family background, this paper reproduces, with editorial material, the autobiographical sketch of her early life in Dublin. This sketch, written late in her life, is of considerable interest,not only for the light it shows on her own background, but for the glimpse it gives of life in Dublin in the early years of the 20th century. In particular, there is much discussion of the wide circle of the Religious Society of Friends, more generally known as Quakers,which played such a large part in the life of her family.
Actualité bibliographique. Les langages du politique
ADAM J.-M., HEIDMANN U. éd., 2005, Sciences du texte et analyse de discours. Enjeux d’une interdisciplinarité, Genève, Slatkine, 274 p. Agone, 2005, n° 33, Le syndicalisme et ses armes, Marseille, Agone, 288 p. Agone, 2005, n° 34, Domestiquer les masses, Marseille, Agone, 264 p. ANGENOT M., 2004, Rhétorique de l’anti-socialisme. Essai d’histoire discursive. 1830-1917, Québec, Presses de l’université de Laval, 272 p. BACOT J.-P., 2005, La presse illustrée au 19e siècle. Une histoire oubliée, L..
Review of The Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917. By Jon Gjerde
Although this highlys tructuredb ook is in some respectsn arrowlyb ased, it is also a synthesiso f considerable magnitude that coordinates the thought and research of many historians who, since the late 1960s, have studied the assimilative experiences of European immigrantsin the United States.J on Gjerde, whose first book brilliantlyan alyzed the emigrationf romB alestrand,N orway, to the upper Middle West, now centers on the cultural contrasts and conflictst hate volvedb etween northernE uropean immigrants and native-bornm igrantsf romt he northeasternU nited States as the Middle West was settled in the nineteenth century
La réception de Daumier en Russie (1830-1917)
Cette étude entend explorer un pan méconnu de l’histoire de la réception internationale d’Honoré Daumier, à savoir sa fortune critique en Russie. Daumier est en effet très apprécié des Russes, de son vivant même. Comme on le montrera pour la période s’étendant de 1830 à 1917, l’artiste apparaît tout d’abord comme un modèle à suivre dans l’établissement d’une satire graphique nationale, alors que les Russes cherchent à s’approprier le genre des Physiologies. De même, l’éclosion de certaines revues satiriques russes comme Éralach doivent beaucoup aux publications caricaturales françaises qui mettent Daumier à l’honneur. Ce dernier est enfin fortement apprécié dans la Russie prérévolutionnaire pour ses peintures, comme le révèlent les écrits qui lui sont consacrés par le critique d’art Alexandre Benois.This study sets out to explore an obscure aspect of Honoré Daumier’s international reputation, namely the successful critical reception of his work in Russia, where he was very popular even in his lifetime. We show that from 1830 to 1917 the Russians are exploring the style of his Physiologies to try and make it their own, and that at this time Daumier is seen as a role model for developing Russian graphical satire. Moreover, some newly created Russian satirical publications such as Éralach owe much to French caricature magazines where Daumier was prominently featured. Finally, his paintings were widely popular in pre-revolutionary Russia, as evidence by their place in the writings of art critic Alexandre Benois
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