Competition for the Chair for Pharmacology at the University of Dorpat in 1882 between Hans Horst Meyer and Gustav von Bunge

The study focuses on the first position held by pharmacologist Hans Horst Meyer (1853–1939) 1 as a professor of pharmacology, dietetics, and the history of medicine at the University of Dorpat (today, Tartu University, Estonia) from 1882 to 1884. Meyer is known as the founder of pharmacology as an independent academic discipline in Vienna (Austria). 2 He competed with the well-known physiologist Gustav Piers Alexander von Bunge (1844–1920) for the position of the chairman of the department in 1881. Meyer was given the position of a professor in Dorpat instead of Gustav von Bunge (1844–1929). The outcome of the competition raises several research questions: why Meyer was allocated the chair in 1881; which arguments spoke in favour of Meyer and what was against him, what spoke against von Bunge; which historical events influenced university life in Dorpat; under which political and ideological currents the decision for the new professor was made. Events such as the Russification of the university and the assassination of Alexander II (1818–1881) significantly impacted teaching at the University of Dorpat from 1875 to 1885. During that period, both professors formed the basis of their outstanding academic careers. The arti- cle provides biographical analysis of Hans Horst Meyer based on Meyer’s files from the University’s of Tartu archive. Since Meyer competed with Gustav von Bunge for his first position as a chairholder, the biography of Gustav von Bunge has also been studied, contextualising it with the significant changes in the organisation of the University of Dorpat. Individual academic achievements of both scholars have been identified and listed using such platforms as Web of Science, Neurotree, the pharmacological journal “Naunyn-Schmiedeberg’s Archives of Pharmacology”, The Online Books Page, and WorldCat. Afterward, the conclusions about the individual scientific portfolios of the two applicants for the chair- man of the department have been made. Finally, contributing factor to why Hans Horst Meyer was successful with his application has been identified

La Clemenza di Tito, April 18-21, 2013

This is the concert program of the La Clemenza di Tito performance on Thursday, April 18, 2013 at 8:00 p.m., at the Boston University Theater, 264 Commonwealth Avenue, Boston, Massachusetts. The work performed was La Clemenza di Tito by Wolfgang Amadeus Mozart. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Kanon und Generation : Der Torso vom Belvedere in der Sicht deutscher Italienreisender des 18. Jahrhunderts

Die vorliegende Studie versteht sich als ein Beitrag zur Geschichte der Kanonbildung, sie führt an eine historische Nahtstelle, an der ein Kanon etabliert, verfestigt und schließlich verändert wird im Laufe von nur wenigen Generationen deutscher Autoren. Es handelt sich um die vielleicht aufregendste Epoche der deutschen Literatur- und Kulturgeschichte: die zweite Hälfte des 18. Jahrhunderts. Ausgangspunkt für diese Beobachtungen bildet nicht ein Text, sondern ein Werk der antiken Kunst, der Torso vom Belvedere, über dessen Wirkung freilich in Texten reflektiert wird. Der Literaturwissenschaftler neigt professionell dazu, sich einseitig auf den Text zu konzentrieren, aber gerade in der Kanondebatte zeigt es sich, daß gravierende ästhetische Entwicklungen sich nicht nur in einem Medium allein formieren: Kanonforschung ist per se interdisziplinäre Forschung

Moralinė savirealizacija Kanto ir Spinozos filosofijoje

Spinoza and Kant are considered to be polar opposites with respect to ethics. The radical difference between them is supposed to consist in Spinoza’s ethical egoism, or interest-based Strebensethik, and Kant’s duty-cantered, deontological Sollensethik. I challenge this opposition and argue that both in Kant and Spinoza we deal with a notion of the self’s realization that is “interest”-based and therefore does not involve self-sacrifice. I show, on the one hand, that the streben in Spinoza’s Strebensethik consists in realising one’s essentially human interest, which resides in ethical-rational action, and, on the other hand, that sollen in Kant’s Sollensethik is in fact a streben of the Kantian “proper self” (eigentliches Selbst) after the realization of its ethical-rational interest.Spinoza ir Kantas etikos požiūriu laikomi visiškomis priešingybėmis. Manoma, kad esminis skirtumas tarp jų yra etinis Spinozos egoizmas, arba interesais pagrįstas Strebensethik, ir Kanto pagrįstas pareigomis, deontologinis Sollensethik. Straipsnyje ši opozicija kvestionuojama. Teigiama, kad tiek Kanto, tiek ir Spinozos filosofijoje susiduriame su savirealizacijos samprata, kuri yra pagrįsta „interesais“ ir todėl nėra susijusi su pasiaukojimu. Viena vertus, parodoma, kad streben Spinozos Strebensethik iš esmės kreipia į žmogiškojo intereso, glūdinčio etiniame-racionaliame veiksme, įgyvendinimą; antra vertus, atskleidžiama, kad sollen Kanto Sollensethik iš tikrųjų yra kantiškojo „tikrojo aš“ (eigentliches Selbst) streben, išliekantis po to, kai jau įgyvendintas savasis etinis-racionalus interesas

Twenty-Year Index, Yearbook of German-American Studies 1981-2000

This is the published version, made available with permission of the editor

Déjà entendu : zur historischen Anthropologie des erinnernden Hörens

Schon bei seiner Einführung in die wissenschaftliche Literatur meinte der Begriff Déjà vu anderes als er besagt. Die beiden Primärquellen, auf die sich Ludovic Dugas in seinem terminologisch grundlegenden Artikel von 1894 bezog, verwenden bezeichnenderweise auch gar nicht diesen Ausdruck, sondern einen allgemeineren ..

Die Rettung des Bildes im Wort

Anna Jurascheks Buch befasst sich mit der Idee des Bildes im Werk des polnisch-jüdischen Künstlers, Schriftstellers und Essayisten Bruno Schulz, der sein Hauptwerk in der Zwischenkriegszeit in polnischer Sprache verfasst hat. Im Kontext der gesellschaftlichen und technischen Veränderungen um die Jahrhundertwende untersucht die Autorin Bruno Schulz` auffälligen und eigenwilligen Umgang mit Bildern, der sich sowohl im plastischen als auch im literarischen Werk sowie in der Verflechtung beider Ausdrucksmittel zeigt. Zur Analyse und Bewertung werden einerseits Untersuchungen zu Bildern und ihrer kulturellen Funktion in der Zwischenkriegszeit herangezogen, wie die wegweisenden Aufsätze von Walter Benjamin und Gisèle Freund, andererseits neuere bildwissenschaftliche Theorien wie jene von Hans Belting und Gottfried Boehm

The Music and Flute of Joaquim Antonio Callado A Study of Selected Compositions

The purpose of this dissertation is to provide a survey of eight selected compositions for flute by the nineteenth-century Brazilian composer and flutist, Joaquim Antonio Callado (1848-1880). The aim of the survey is to identify early structural, melodic, rhythmic, and harmonic elements of the popular Brazilian instrumental genre, called choro, in Callado’s compositions. In addition, this study will investigate the hypothesis of Callado’s use of two different flute models to compose and perform: a nineteenth-century, simple-system, five-keyed wooden flute and the, then, newly invented silver, multi-keyed, Boehm flute. The study will also look for evidence of Callado’s use of both instruments in different stages of his short life. Joaquim Antonio Callado is considered to be the father of choro. Born in 1848 in Rio de Janeiro, this flutist, teacher, and composer was part of the first generation of choro composers and performers. He was crucial to the formation of this authentic instrumental genre (choro). In fact, Callado is credited as the first person to use the term choro. In the 1870s, he formed the group “choro Carioca” or “choro do Callado.” The pieces performed by the group included European dances, such as polkas and waltzes, as well as Afro- Brazilian music, such as modinhas and lundus. The blending of music from different cultural backgrounds resulted in a well-structured, yet dynamic, unique, and improvisatory style that is the choro. The period in which the choro emerged coincided with an important time in flute history. In 1847, after intense research, the German flute maker Theobald Boehm (1794-1881) unveiled his revolutionary flute. The instrument had a new mechanism and scale and it was made of different material: metal, which is more stable and durable than the standard wood. Its superior intonation, projection, and fingering mechanism provided a better playing experience. The flute acquired great popularity in Europe and beyond, eventually replacing the pre-Boehm, simple-system flutes in orchestras and conservatories. Years later, the Boehm flute arrived in Brazil through the hands of Mathieu Andre Reichert (1830-1880), a Belgian flutist who traveled to the country in 1859 and adopted it as his own, becoming one of the pillars of the Brazilian flute school, along with Joaquim Callado. There is no proven evidence, however, that Callado actually played a Boehm flute. From a few historical accounts, it is known that he performed on a pre-Bohm wooden instrument. But through the analysis of his music, one can speculate that Callado did indeed compose some of his pieces with the Boehm flute in mind. This study presents significant and relevant information for performers of Brazilian music, as well as flute teachers who seek to understand the history of the evolution of the style and the role of the flute in the choro. This document will include a brief history of the choro, a short biography of Joaquim Antonio Callado, a survey of eight selected compositions, and a conclusion. It will also include two appendices: Appendix I will briefly describe the history of the flute from ancient times until the Boehm flute. Appendix II will provide a complete list of Callado’s compositions in alphabetical order; the list will contain the titles and the style in which the pieces were composed