Search

Elokuussa 1914 syttynyt maailmansota johti tieteen, tekniikan ja sodankäynnin järjestelmien lopulliseen liittoon kaikissa teollistuneissa suurvalloissa. Tieteellis-teknilliset kompleksit organisoitiin yliopistojen, korkeakoulujen ja tutkimuslaitosten varaan. Valtion rahoittamia organisaatioita 1910-luvulla olivat esimerkiksi saksalainen Kaiser-Wilhelm-Gesellschaft zur Förderung der Wissenschaften e.V., Britannian Department of Scientific and Industrial Research (DSIR), ja Yhdysvaltojen National Research Council (NRC). Ruotsissa esitettiin vuonna 1916 voima- ja polttoainekysymyksiin perustuvan tutkimuslaitoksen perustamista. Ingenjörsvetenskapsakademin (IVA) perustettiin tarkoitusta varten 24. lokakuuta 1919. Artikkelissa tarkastellaan suomalaisen tutkimusjärjestelmän muotoutumista maailmansodan ja itsenäistymiskamppailun keskellä. Miksi Suomessa ei luotu vastaavaa tutkimusorganisaatiota kuin Ruotsissa? Lisäksi artikkelissa pohditaan, miten 1910-luvun kriisiaikojen jäljet näkyivät suomalaisen tiedejärjestelmän rakenteissa., The article discusses how the Finnish scientific research organisation was changed due the WW 1. During the crisis the basics of the modern national scientific administration was built.

The purpose of this article is to trace the footsteps of the first general manager in the Far East of Universal, Tom Dakin Cochrane, in order to clarify the process of the U.S. companies deploying distribution networks in Asia where particularly French Pathé Frères was dominating the Asian film market. By tracing Cochrane's path from his departure for Asia to the establishment of the Tokyo branch in 1916, it will also determine the geopolitical importance of Japan within Asia for the U.S. film distribution at the beginning of the 20th century., 内田慶市教授古稀記念号

Velolučanin Jerko Šeparović Musa rano se otisnuo s rodnog otoka i bio jedan od prvih mještana koji je završio neteološki studij (pravo). U Grazu je zasnovao obitelj i zaposlio se kao c.k. poštanski povjerenik kod tamošnjeg Ravnateljstva pošta i brzojava. U slobodno vrijeme bavio se fotografiranjem. Iako iza njega nije ostao velik opus već tek fragmenti – fotografije njegove rodbine u Veloj Luci, oni svejedno predstavljaju značajan fotografski trag. I zbog činjenice da je riječ o dosad najranijem poznatom amaterskom fotografu s otoka, ali i zbog samih sačuvanih fotografija. One naime predstavljaju važno i najranije etnografsko svjedočanstvo života u Veloj Luci na samom početku 20. st., Jerko Šeparović Musa from Vela Luka left his home island early in life and was one of the first locals to earn a non-theological degree (law). He started a family in Graz, where he was employed as a postal commissioner at the Directorate of Posts and Telegraphs. In his free time, he was engaged in photography. Although he did not leave behind a large oeuvre, only fragments - photos of his relatives in Vela Luka -they still represent a significant photographic trace. This is because he is the earliest known amateur photographer from the island and because of the preserved photographs themselves. They are the earliest ethnographic testimony of life in Vela Luka at the very beginning of the 20th century.

In the 1900s as Edwardian women musicians moved from music teaching into public performance, cinemas offered a safe place: out of the spotlight and in the relative anonymity of the darkened auditorium. The rapid growth in cinemas from the 1910s also meant that women were needed to fill the demand for ensembles, pianists, and vocalists, a demand that greatly increased during World War I however, women faced successive waves of backlashes and debates about their abilities played out in the music and popular press, in trade and fan magazines, and in the Musicians’ Union. Evidence of women’s experience can also be gleaned from personal testimony, diaries, and autobiography, but this is piecemeal and represents only a fraction of what was a considerable occupation for women. Focusing on cinema musicianship, this article will examine the battles for women entering the profession between 1900 and 1930.

Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.

A presentation at the University of Nottingham on 28 Feb 2017 organised by the Music Dept. The development of silent film music between the 1900s and 1920s up until the coming of sound cinema, largely reflected popular tastes and musical styles of the period. But many performances were improvised and not documented and there are very few extant examples of full music scores composed specifically for silent film. The majority of film music was compiled by music directors from library music, however this presentation will use a key examples of original music scores such as that for The Battle of the Somme, and compare these to recent scores for silent films by contemporary composers, including Laura Rossi's new score for the Battle of the Somme, which sheds light on changing musical tastes and attitudes towards the visual material which the music accompanied

Väitekirja elektrooniline versioon ei sisalda publikatsioone., Saja aasta möödumine Esimese maailmasõja puhkemisest aktualiseeris teemakohast ajalookirjutust nii Lääne-Euroopas kui ka Eestis ja mujal Ida-Euroopas, kus ilmasõda tunti seni pigem “unustatud sõjana”. Sellest tulenevalt on siinses ajalookirjutuses tulnud nähtavale mitmed lüngad, eriti sõja ühiskondlike ja kultuuriliste aspektide käsitlemisel. Viimaste hulka kuulub sõdurite kogemuse ja selle sõjajärgse tähenduse analüüs, mis on antud doktoritöö uurimisülesanne. Tuginedes eesti sõdurite kirjadele, päevikutele ja mälestustele ning veteranide organisatsioonide materjalidele, analüüsib väitekiri Esimeses maailmasõjas Vene armee koosseisus osalenud eestlastest sõdurite sõjakogemuse ühisosa, selle eripäraseid ja/või seni vähest tähelepanu pälvinud komponente. Töö käsitleb sõja kestel omandatud kogemust ning viimase tähendust pikemal aegreal, st kogemusele hinnangu andmist ja selle rakendamist 1920.–1930. aastate ning nõukogude perioodi teisenenud ühiskondlik-poliitilistes oludes. Analüüsides eestlaste sõjakogemuse iseloomulikumaid komponente (vaenlase- ja enesekuvand, suhted kaassõdurite ja kodurindega, kojupöördumine), neid mõjutanud tegureid (nt Vene armee taustsüsteem, ilmasõjale järgnenud konfliktid) ning kogemuse sõjajärgset tähendust, astub töö diskussiooni maailmasõja alase lokaalse ja rahvusvahelise historiograafiaga ning juhib tähelepanu vajadusele Vene armees teeninud väikerahvaste kogemuse problemaatikat, aga ka erinevaid “pika” Esimese maailmasõja aspekte idarindel kompleksselt analüüsida., The 100th anniversary from the outbreak of the First World War (WWI) has increased the number of academic studies dedicated to the war both in Western Europe as well as in Estonia and elsewhere in Eastern Europe, where it was heretofore rather known as the “forgotten war”. This increased focus has revealed several gaps in the local historiography, especially in relation to the social and cultural aspects of the war. Among these gaps is the topic of the war experience of soldiers and its post-war meaning, which stands in the center of this doctoral thesis. The thesis relies on Estonian soldiers’ letters, diaries, memoirs and materials of veterans’ organizations, and analyzes both the common as well as previously less explored elements of the war experience of Estonian soldiers who served in the Russian Army during WWI. The thesis examines the formation of the experience during the war as well as its postwar meaning over a long timespan, i.e. how the experience was perceived and re-implemented in the transformed sociopolitical context during the interwar period and the Soviet era. By analyzing the central aspects of the Estonians’ war experience (enemy-image, self-image, relations with fellow soldiers and with the home front, returning home), the factors that affected these aspects (the context of the Russian Army, postwar conflicts), and the postwar meaning of the experience, the thesis places the Estonian case study into the wider framework of the local and international historiography and highlights the need to further research the experiences of minorities who served in the Russian Army as well as the numerous aspects of the “long” WWI on the Eastern Front.

Cella Barr Associates contracted with Soil Systems, Inc. to prepare an overview of the cultural resources in the Papago Park planning area. A survey of pertinent literature and site record files was conducted and the results were summarized in this report. Recommendations for documentation and assessment of cultural resources within the park area conclude this report. A review of the archaeological and historical material encompassing the Papago Park planning area has revealed 20 archaeological sites and four significant historical structures. The sites include 19 prehistoric Hohokam and historic Piman Indian occupations of the area as well as a historic trash dump. The significant historical structures are Hayden Flour Mill, the orginal automobile bridge across the Salt River, the Mill Avenue Bridge, and the Tempe Beach Stadium. Other historical places within the planning area are the Arizona State University Administrative Building, Mouer Park and Tempe Beach Park.

Between 1914 and 1919, elite white people erected monuments across Virginia, permanently transforming the landscape of their communities with memorials to the Confederacy. Why did these Confederate memorialists continue to build monuments to a conflict their side had lost half a century earlier? This thesis examines this question to extend the study of the Lost Cause past the traditional stopping date of the Civil War semicentennial in 1915 and to add to the study of memorialization as a historical process. Studying the design and language of monuments as well as dedication orations and newspaper coverage of unveiling ceremonies, this thesis focuses on Virginia's Confederate memorials to provide a case study for the whole South. Memorialization is always an act of the present as much as an honoring of the past. Elite white Virginians built memorials to speak to their contemporaries at the same time they claimed to speak for them. Memorialists turned to the Confederacy for support in an effort to maintain their status at the top of post-Reconstruction Southern society. Confederate monuments served as permanent physical role models, continuing sectional reconciliation, encouraging women to maintain prescribed gender roles, and discouraging African Americans from standing up for their rights. American involvement in World War I exacerbated societal changes that threatened the position of the traditional white ruling class. As proponents of the Lost Cause squared off against the transformations of the Progressive era, Virginia's Confederate memorialists imbued monuments throughout the Commonwealth with messages meant to ensure their continued dominance. Master of Arts

This article discusses the cinematic realism of French director Louis Feuillade in the early 1910s. In his famous ‘manifesto’ “La vie telle qu’elle est” he claimed to be the first to bring realism to the screen. His La tare (1911) is analyzed as an attempt to realize the programmatic poetics of the manifesto, combining naturalistic staging and a mostly melodramatic plot. Less typical is Erreur tragique (1913), which both displays the medium’s capacity for witnessing and reproducing ‘real’ events and can be thought of as a ‘proto-reflexive’ form of realism in film.

The paper aims to characterize the different ways of celebrating Carnival as practiced by the elite of the city of Pelotas in the 1910s. It seeks to develop an inventory of practices in comparison to the ones viewed in other cities, specially Rio de Janeiro, as well as to other historical and sociological analysis. El artículo pretende caracterizar las diferentes formas de celebrar el Carnaval, patrocinado por la élite de la ciudad de Pelotas, en el año 1910. Para ello, promueve un inventario de tales prácticas, pretende relacionarlas con las que se llevaban a cabo en otras ciudades, especialmente Río de Janeiro, así como los análisis de historiadores y científicos sociales. O artigo busca caracterizar os diferentes modos de comemorar o Carnaval, promovido pela elite da cidade de Pelotas, nos anos 1910. Para isso, promove um inventário dessas práticas, procura relacioná-las às que eram realizadas em outras cidades, em especial o Rio de Janeiro, bem como às análises de historiadores e cientistas sociais.

The aim of the article is to apply gender perspective to a wide-ranging study of different actors’ dealings during the Gavle City Council elections of 1910 and 1912 in order to analyse local political culture in the wake of the 1909 reforms to the Local Government Act. Taking as the starting-point the idea of political culture and the actions of various key figures at the time of the election, the focus is on the gendering of Swedish politics once women’s suffrage had been introduced. The results are based on an intersectional analysis of the electorate’s behaviour, using electoral rolls, population registers, and press reports. The study includes local women’s organization’s strategies to increase women’s political participation, as well as the part played by the local branches of the political parties. Seen in the national context, Gavle was unusual - three women won seats on the City Council in 1910, in the run-up to which the local Society for Women’s Suffrage had run a spirited campaign to ensure that the women candidates got to stand in safe seats. All the newspapers in 1910 carried exhortations to voters of both sex to exercise their votes, and several newspapers reported an enthusiastic election turn-out amongst women. Two years later the Society for Women’s Suffrage had split, losing some of its influence in the process. Before the 1912 election, moreover, no women were selected to stand for a safe seats, and the newspapers’ reporting of the election tended to render the female electorate invisible, which in itself gave a somewhat misleading picture of the situation, bearing in mind that in the event similar numbers of women would vote in this election as had done in the previous one. Otherwise, in terms of the actual turn-out, it is noticeable that the male and female electorate adhered to the same social pattern - the rich, as always, voted in far greater numbers than those with few votes (municipal suffrage was income-based in such a way as an individual could have two or more votes in the same election). Yet there were also some noticeable differences between the sexes. The majority of the female electorate were unmarried women with few votes; a majority of the men who turned out to vote were married and well established. Since all the political parties without exception put up male candidates in the 1912 election, and chose to address their propaganda to a gender-neutral electorate, they tapped a fundamental characteristic of political culture that had deep historical roots. We would therefore argue that the actions of the local branch of the Society for Women’s Suffrage prior to the 1910 election were crucial in establishing the fact of women as political citizens. English title: Making space for voters: on gender, class, and turn-out in the Gävle City Council elections, 1910 and 1912 Äktenskapet, äganderätten och kvinnans emancipation, ca 1870-1920 (VR:2006-2009)

Salt River Project (SRP) requested that Logan Simpson Design Inc. (LSD) perform a Class III cultural resources survey of the approximately 4.25-mile by 20-m-wide corridor to identify and evaluate any cultural resources that could be affected by the construction of a new 69kV transmission line from the existing Quail Substation to the proposed Shipley Substation between Quail Run Road and Cooper Road in Magma, Pinal County. The survey area measures 22,440 ft long by 65.62 ft wide and encompasses 25.85 acres of private land and 7.95 acres of State Trust land under the jurisdiction of the Arizona State Land Department, totaling 33.80 acres. The Bureau of Reclamation (Reclamation) right-of-way within the project area was not surveyed as part of this project. It had previously been surveyed and is highly disturbed; no sites are reported in the Reclamation right-of-way where it crosses the SRP project area. Although the SRP project corridor is only 36 feet wide, a 20-m-wide corridor was surveyed. The proposed project consists of constructing a new 69kV transmission line, including installation of utility poles. The Class III survey was undertaken at the request of SRP as due-diligence as part of the planning for the installation of the line, and because portions of the project are located on ASLD land, the cultural resources survey was completed in compliance with the requirements set forth in ARS § 41-861 et. Seq., the Arizona State Historic Preservation Act.

The Southwest Germann site is among the largest of prehistoric Hohokam settlements in the Queen Creek area. The Rohrig Substation property is located at its southwestern edge and overlaps a previously unreported habitation locus. Archaeological testing (Phase 1 data recovery) at the substation documented the presence of adobe-walled rooms, puddling pits, and trash deposits that were probably contained within an adobe-walled compound on the easternmost side of the Rohrig property. Salt River Project decided to restrict substation construction to the western 2 acres of the property to preserve the habitation features. Phase 2 data recovery focused on the 2-acre construction area. Features documented during the Phase 2 effort included a large midden, several small pits, a roasting pit, several crematoria, secondary cremations, and animal burials. Diagnostic ceramics indicated the locus was primarily occupied during the late Soho and early Civano phases of the Classic period (A. D. 1250-1350). The Rohrig Substation investigations were designed to obtain new information about the types of cultural activities that occurred on the margin of large Hohokam habitation areas in the Queen Creek area. The data recovery research provides new insights about residential activity, subsistence, mortuary practices, and patterns of interaction within the the Southwest Germann site. The results of the project suggest the Classic period inhabitants of the Rohrig Substation locus had strong ties with populations in the middle Gila River Basin and a set of traditions and customs strongly rooted in the past. Contributions of expertise were provided by Jenny L. Adams, Michael W. Diehl, T. Kathleen Henderson, Gary Huckleberry, Penny Dufoe Minturn, R. Jane Sliva, Arthur W. Vokes, Jennifer A. Waters, and Gregory J. Whitney.