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"This is one of the most important studies of nineteenth century chemistry produced during the past two decades. Building on his equally important earlier book . . . this work will establish Rocke as the leading scholar in this field."--Frederic L. Holmes, Yale University "With this work, Rocke has become the leading authority on German chemistry in the first two-thirds of the nineteenth century."--Kathryn M. Olesko, Georgetown University
This new study discusses the visual and verbal city sketches which proliferated during the 'journalistic revolution' of the 1830s and 1840s. English, French and German/Austrian illustrated serials illuminate the pivotal position of sketches in the nineteenth-century culture of knowledge and entertainment. Martina Lauster demonstrates how, as a dynamic form of cognition, sketches transformed models of visual and printed media (panorama and encyclopaedia) and of life science (physiology) into a unique kind of sociology, presenting a self-critique of the middle class on the brink of industrial modernity.
This book contributes to global history by examining the connected histories of German and United States colonial empires from the early nineteenth century to the Nazi era. It looks at multiple and multidirectional flows, transfers, and circulations of ideas, people, and practices as Germany and the US were embedded in, and created by, an interconnected world of empires. This relationship was not exceptional, but emblematic of the diverse entanglements that created colonial globality. Colonial entanglements between Germany and the United States took on many forms, but these shared and intersecting histories have been underanalyzed. Traditionally, Germany and the United States have been understood to have taken, respectively, an authoritarian and liberal path into modernity. But there is no neat dichotomy, as the contributors to this book illustrate. There are many more similarities than have previously been appreciated – and they are the result of multilayered entanglements made visible via conquest, settler societies, racialization, and rule of difference. Building on present historiographies of empires, colonialism, and globalization, this book introduces new analytical possibilities for examining these two relatively understudied empires alongside each other, as well as at their intersections. Chapter 1 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
The Great Extravaganza details the Lewis and Clark Exposition of 1905 from its planning stage, through the heady days of the fair, and into the decade of growth and prosperity that followed. Abbott captures the progressive sentiments that motivated early twentieth-century developers and politicians and the part the Exposition played in the development of Portland. Now in its third edition since its original publication in 1981, The Great Extravaganza includes a new introduction by Carl Abbott along with historic photographs that give readers a tour of the extensive fairgrounds, the grand exhibit halls, and the dozens of attractions that drew a million and a half people to Portland during the summer and early fall of 1905.
Most people associate Nordic countries with peace, tranquility, civility, high living standards and generally progressive social arrangements. It is these very qualities that get Nordic countries rejected as policy models because they are too peaceful - what happens there is too remote and too easy compared to the harsh outside world.
How was it possible for drama, especially biblical representations, to appear in the Christian West given the church's condemnation of the theatrum of the ancient world?In a book with radical implications for the study of medieval literature, Lawrence Clopper resolves this perplexing question. Drama, Play, and Game demonstrates that the theatrum repudiated by medieval clerics was not "theater" as we understand the term today. Clopper contends that critics have misrepresented Western stage history because they have assumed that theatrum designates a place where drama is performed. While theatrum was thought of as a site of spectacle during the Middle Ages, the term was more closely connected with immodest behavior and lurid forms of festive culture. Clerics were not opposed to liturgical representations in churches, but they strove ardently to suppress May games, ludi, festivals, and liturgical parodies. Medieval drama, then, stemmed from a more vernacular tradition than previously acknowledged-one developed by England's laity outside the boundaries of clerical rule.