In the vast majority of establishments, the relations between the sisters and the local community were correct or good. They were valued for their dedication, modesty, diligence and perseverance. ...Huge hopes were placed everywhere about their work in nurseries. It was hoped that the orphanage would not only be a place of care for abandoned, neglected and deprived of Christian upbringing children, but also contribute to raising the spiritual leve of parishioners. This review is not only an evaluation attempt, but also a recommendation of the book «Care and upbringing of a small child» in the pages of magazines at the turn of the 19th and 20th centuries by Prof. Stefania Walasek. The book consists of an introduction, six chapters, ending, conclusion (in English), bibliography, index of geographical names, and index of names. The structure of the publication is determined by the research questions posed by the author in the Introduction: «through what institutional forms were the care and educational tasks addressed to a young child carried out? To what extent have the undertaken activities supported the child’s development? Did they constitute a significant support for the family, both in material and pedagogical terms? What was the contribution of Polish educators in creating the theory of care and educational work with a small child?» (p. 9). Successively, in the first chapter, the author describes the activities of nurseries, starting from the socio-economic situation of children, which were primarily addressed to children from the poorest social strata. A significant influence on the establishment and development of the institution of the orphanage had Bl. Fr. Edmund Bojanowski or count. August Cieszkowski, as well as numerous societies and committees focused on helping children. The content of the second chapter is a presentation of selected representatives of pedagogical thought and social activists and their views on the care and upbringing of children. The author recalls such names as: Andrzej Frycz Modrzewski, Antoni Popławski, W. Nowicki, Stanisław Jachowicz, August Cieszkowski, Adam Goltz, Blessed Edmund Bojanowski, Ludwik Górski, Józef Montwiłł, Bronisław Trentowski, Ewaryst Estkowski, August Adam Jeske, Tomasz Dziekoński, Mieczysław Baranowski, Jan Władysław Dawid, Stanisław Karpowicz, as well as Johann Heinrich Pestalozzi, Maria Pape-Carpentier, Jan Svoboda and Frederick Wilhelm Froelm. The third chapter refers to the aforementioned Froebel and his concept of Frebler gardens, which in Poland experienced their development, often departing from rigid norms and rules towards original, peculiar solutions. The fourth chapter presents the promotion of childcare among the organizations of women operating at that time, such as the Union of Polish-Catholic Charitable Societies, the United Circle of Landowners, the Union of Małopolska Landowners, Circle of Ladies of the People’s School Society, the Polish Union of Catholic Women, or the Union of Upper Silesia Women’s Societies. Chapter five directs the reader towards the emergence of the concept of kindergarten as a new form of work with the youngest. The last, sixth chapter, in which the author refers to other forms of care for young children, such as the Jordan and Rau gardens, completes the presented issues. Reading the book under review confirms our belief that the press is an important source for historians of education. To conclude this presentation, we have an irresistible desire to ask ourselves whether the value of the book under review matters only for the historian of upbringing, or whether we can implement its content to the contemporary challenges of care and education? In my opinion, the answer to this question can be found in many contemporary, extremely interesting initiatives aimed at improving the fate of a child.
Provider: - Institution: - Data provided by Europeana Collections- Glazbena prošlost Hrvatske do danas nije u potpunosti istražena, a glazbene zbirke u hrvatskim arhivima nedovoljno su obrađene i ...javno ‘nevidljive’. Ovim se radom nastoji osvijetliti jedan segment bogate glazbene prošlosti Zadra, čime se upotpunjuje slika o glazbenom identitetu Hrvatske te ukazuje na glazbenu baštinu kao nezaobilazan entitet u hrvatskoj kulturnoj baštini. Tema ovoga rada je glazbeni život Zadra od 1860. do Prvoga svjetskog rata. Kako se radi se o turbulentnom povijesnom razdoblju pod vladavinom Austro-Ugarske u kojem su političke prilike uvelike utjecale na ekonomski, gospodarski, kulturni pa tako i glazbeni život, u radu se pristupilo interdisciplinarnom istraživanju koje uključuje istraživačka pitanja iz nekoliko znanstvenih područja: sociologije glazbe, muzikologije, etnomuzikologije, estetike glazbe, glazbene arhivistike i povijesti. Uvažavajući sve dosadašnje napise o istraživanoj temi te pronalaskom i analiziranjem velikoga i raznovrsnoga fonda historijskih izvora, pristupilo se interpretaciji koja nastoji objasniti fenomene (društveno-političke i kulturne) koji su utjecali na svakodnevni glazbeni život Zadrana u smislu proizvodnje, konzumiranja i prenošenja glazbe. Tako se u kontekstu hrvatske glazbene prošlosti došlo do spoznaja o ulogama i funkcijama glazbe, ali i odnosu društva i politike spram glazbe u zadarskoj prošlosti. U interpretaciji se svjesno izbjegavalo uvriježene kanonske principe deskriptivnoga opisivanja glazbenih prošlosti, a nastojalo obuhvatiti principe mnogih znanstvenih disciplina te napraviti svojevrsnu konceptualizaciju glazbenih fenomena. U tom smislu, rad je ostvario nekoliko ciljeva koji obuhvaćaju sam predmet, metodologiju i znanstvenu disciplinu. Naime, osim što opisuje glazbenu prošlost Zadra u razdoblju od 1860. do 1914. godine s obzirom na različite društvene (političke, socijalne, gospodarske) prilike, u radu se kritički analizira relevantna literatura o ‘glazbenim prošlostima’ kako bi se dobio uvid o korištenim metodologijama, modelima, interpretacijama, kanonima i paradigmama. Rad je podijeljen u dvije velike cjeline: teorijsko-metodološki dio i istraživanje. Prvim dijelom rada nastojalo se otvoriti neka nova pitanja u muzikološkoj praksi, npr. modeli interpretiranja glazbenih prošlosti, metodologija, način korištenja historijskih glazbenih izvora, ali i svjesnost o novim paradigmama u znanstvenim granama koje se bave tim temama: u muzikologiji, povijesti glazbe, sociologiji glazbe, kulturnim studijama, estetici glazbe, etnomuzikologiji itd. Tako se došlo do uvida o sporom, ali vidljivom pomaku hrvatske glazbene historiografije i historijske muzikologije, ali koje još uvijek ne progovaraju o metodologiji kao ni o novim paradigmama o kojima se u svijetu piše već od 2002. godine. U tom smislu, ovaj je rad analizom mnogobrojne interdisciplinarne literature došao do uvida o nekoliko elemenata u kojima se ogleda promjena paradigme. To su: predmet istraživanja, povijesni kanoni, uloga istraživača, subjektivna interpretacija, kulturna raznolikost, kultura i glazba i postmodernizam i glazba. U istraživačkom dijelu rada došlo se do određenih rezultata o glazbeno-kulturno-umjetničkom djelovanju prateći individualne razine, mreže društvenoga djelovanja te ideološke kontekste. U tu svrhu, odabrana je strategija studije slučaja i to dizajn s jednim 'slučajem' i nekoliko jedinica analize. Za razliku od ranijih radova o glazbenoj prošlosti Zadra, ovaj je rad uzeo u obzir raznovrsne arhivske dokumente (muzikalije, sitni tisak, periodiku, fotografije) te brojnu povijesnu, historiografsku, kulturološku i muzikološku literaturu. U smislu povijesti glazbe, istraživanjem se došlo do novih uvida o: glazbenim društvima (Società Filarmonica, Società Corale Citadino, Unione Corale citadino i dr.), glazbenicima (pjevačima, instrumentalistima, dirigentima, skladateljima...), repertoaru, ali i utjecaju društva i politike spram glazbe. Također, iznijeti su i novi podatci o životu najznačajnijega zadarskoga skladatelja Nikole Strmića, pogotovo oni koji se tiču njegovih studentskih dana u Milanu. Progovorilo se i o međusobnim odnosima između glazbenika kao i političkim prilikama koje su u većoj ili manjoj mjeri utjecale na njih. Po prvi puta napravljene su svojevrsne baze podataka (repertoar Filharmonije, Zoranića, Narodne čitaonice i dr.) koje će budućim različitim istražiteljima zadarske (hrvatske, međunarodne) glazbene prošlosti biti polazišta za nove interpetacije i istraživanja. Također, dao se prikaz multietničkoga Zadra u kojem su isprepletenost i prožimanja različitih kultura oblikovale glazbeni život koji je bio bogat, živ, raznovrstan i u koraku s mnogim europskim središtima.- The music history of Croatia to date, has not been thoroughly investigated and furthermore, music collections contained within the Croatian archives are insufficiently processed and still remain publicly 'invisible'. This paper aims to highlight a segment of rich music history particular to the region of Zadar, which completes the picture of the musical identity of Croatia, highlighting the musical heritage as an essential entity in the Croatian cultural heritage. The subject of this paper is the musical life of Zadar from 1860 to the First World War. As the above mentioned time span concerns a very turbulent historical period under the Austro-Hungarian rule where the political situation greatly affected the economical, commercial, cultural as well as musical life of the city, this paper takes an interdisciplinary research approach which integrates questions from several scientific fields: the sociology of music, musicology, ethnomusicology, music aesthetics, musical archiving and history. Taking into account all of the preceding papers regarding this subject and considering the discovery and analysis of enormous and heterogeneous collection of historical sources, this paper approaches the interpretation by aiming to explain the phenomena (socio-political and cultural) which had influenced everyday musical life of the people of Zadar, especially in terms of production, consumption and interchange of music. This phenomena and all its multiplicity of expression gives us greater insights into roles and functions of music within the context of Croatian music history as well as the interrelationship between the society and politics to music of Zadar’s past. The interpretation itself consciously avoided customary canonical principles of detailed descriptions of music history and instead tried to encompass the principles of different scientific disciplines and make a particular conceptualisation of music phenomena. From that point of view this paper has achieved several objectives embracing the subject, methodology and scientific discipline. Apart from being descriptive of the music history of Zadar in the period from 1860 to 1914 and due to different social (political and commercial) circumstances, the paper critically analyses the relevant literature on the “musical past” to be able to get an insight into used methodologies, models, interpretations, canons and paradigms. The paper is divided into two major parts: the theoretical-methodological part and the research itself. The first part (of the paper) aims to reveal new approaches in musicological practice, for example, the models of interpretation the music of the past, methodology, the way of using historical musical sources, as well as the awareness of the new paradigms in scientific fields dealing with these topics: in musicology, history of music, sociology of music, cultural studies, aesthetics of music, ethnomusicology etc. The research revealed findings indicating that there is a slow but noticeable progress within Croatian musical historiography and historical musicology, which still does not communicate on the methodology or new paradigms the world has been writing on since 2002. Thus, with the analysis of multiple interdisciplinary literatures this paper has provided an insight into several elements in which a change of the paradigm can be noticed. The elements particular to: the subject of research, historical canons, the role of a researcher, subjective interpretation, cultural diversity, the relationship between culture and music as well as postmodernism and music. The research component of the paper led to specific findings on musical-cultural-artistic activities following individual levels (approach) and a network of social activities and ideological contexts. For this purpose, the strategy of study case has been chosen, in particular a design with one “case” and several entities of analysis. As opposed to earlier papers on musical history of Zadar, this particular paper has taken into account a variety of archival documents (music scores, small print, periodicals, photographs) and numerous historical, historiographical, cultural and musicological literatures. In the context of the history of music, the research has shown some new insights into: musical societies (Società Filarmonica, Società Corale Citadino, Unione Corale citadino, etc.), musicians (singers, instrumentalists, conductors, composers…), repertoire, but also the impact society and politics had had on music. Moreover, some new data has been presented on the life of the most important composer of Zadar, Nikola Strmić, especially those pertaining to his student days in Milan. The paper also discusses the relations between musicians themselves and the political circumstances of that time which more or less impacted upon them. Certain databases have been created for the first time (Philharmonic repertoire, Zoranić choir, National Reading Room, etc.), all of which will be beneficial starting points for many future researchers of Zadar’s (Croatian or international) musical history and hopefully provide new interpretations and analyses. Furthermore, this paper has provided a multi-ethnical representation of Zadar and
Autochrome Photography and Impressionism : the paradigm of color and light.
Based on research by psycho-physiologists, the scientific theories of color that came into being during the second half of ...the 19th century, nurtured the new concepts of visual culture that were established at the turn of the century. In 1907, the invention of the first industrial color photography process, autochromy, lead to direct comparisons between photography and painting : photography demonstrates the scientific validity of Impressionism and Pointillism and painting, also, offers a legitimate aesthetic to the new-born process of autochromy. The relationship of these two mediums, based their heritage in the scientific theory of color — and not that of iconography — then, allowed the ties which bonded scientific, technical and aesthetic achievements to be examined.
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