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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 edition. Excerpt: ...T. M. LEGGE. CHAPTER XXIX THE LESIONS RESULTING FROM THE MANUFACTURE AND USES OF POTASSIUM AND SODIUM BICHROMATE Peculiar lesions--erosion of the septum of the nose and the production of ulcers on the skin--are caused by bichromate of potassium or sodium. Erosion of the septum is found only among persons engaged in the manufacture of the salts, but ulceration of the skin of exposed parts, principally the hands, although most severe and most frequently met with among the same class of operatives, may be detected among persons engaged in the many industries in which the salts are used in solution. Bichromate of potassium and sodium, commercially known as "bichromes," are used largely--1. In the manufacture of colours, such as the various chrome yellows, by the interaction of lead acetate and bichromate of potassium. 2. In dyeing and calico-printing. In dying cotton yarn the material is soaked in lime water, and, after wringing, is transferred to a vat containing lead acetate. It then passes through a solution of bichromate which develops the yellow colour on the fibre. In calico printing potassium bichromate is used in the indigo blue discharge style, when it may be printed from a paste containing 40 per cent, of bichromate, which will discharge the colour from the blue material after suitable treatment. Or it may be used for the production of chrome lead colours by first printing the desired pattern on the calico with a paste containing acetate of lead, and subsequently passing this through a 2 to 5 per cent, solution of bichromate. Potassium bichromate is the most important mordant for wool. The mordanting bath is prepared with 2 to 4 per cent, potassium bichromate (of the weight of the wool) and the necessary quantity of water, ...
From anthrax to asbestos to pesticides, industrial toxins and pollutants have troubled the world for the past century and longer. Environmental hazards from industry remain one of the world's foremost killers.Dangerous Trade establishes historical groundwork for a better understanding of how and why these hazards continue to threaten our shrinking world. In this timely collection, an international group of scholars casts a rigorous eye towards efforts to combat these ailments. Dangerous Trade contains a wide range of case studies that illuminate transnational movements of risk—from the colonial plantations of Indonesia to compensation laws in late 19th century Britain, and from the occupational medicine clinics of 1960s New York City to the burning of electronic waste in early twenty-first century Uruguay. The essays in Dangerous Trade provide an unprecedented broad perspective of the dangers stirred up by industrial activity across the globe, as well as the voices rasied to remedy them.
Close examination of William Gladstone's engagement with Dante, and its effect upon his political and personal life. From the point at which he first read the Commedia, at the age of twenty-four, William Gladstone was to consider Dante Alighieri one of the major influences in his life, on a par with Homer and St Augustine, and to identifyhimself strongly with the poet. Both were statesmen as well as scholars, for whom civic duty was more important than personal convenience. Both were serious theologians as well as simple spiritual pilgrims. Both idealised women. This book shows how Gladstone found in Dante an endorsement of his own beliefs as he negotiated a path through life. Isba traces the development of his enthusiasm against the background of a resurgent Italy in a new Europe, and in the context of the Victorian fashion for all things medieval. She also examines the parallels between the two men's attitudes to sex and religion in particular, and closes by analysing the quality of Gladstone's own writingon Dante (he was to become an internationally recognised Dante scholar) .
Antoine de Baecque proposes a new historiography of cinema, investigating how cinematic representation changes the very nature of history.
In this witty, engaging, and challenging book, Carolyn Steedman has produced an originaland sometimes irreverentinvestigation into how modern historiography has developed. Dust: The Archive and Cultural History considers our stubborn set of beliefs about an objective material worldinherited from the nineteenth centurywith which modern history writing and its lack of such a belief, attempts to grapple. Drawing on her own published and unpublished writing, Carolyn Steedman has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world. Steedman begins by asserting that in recent years much attention has been paid to the archive by those working in the humanities and social sciences; she calls this practice "archivization." By definition, the archive is the repository of "that which will not go away," and the book goes on to suggest that, just like dust, the "matter of history" can never go away or be erased. This unique work will be welcomed by all historians who want to think about what it is they do.
Acclaimed historian Margaret MacMillan explores here the many ways in which history affects us all. She shows how a deeper engagement with history, both as individuals and in the sphere of public debate, can help us understand ourselves and the world better. But she also warns that history can be misused and lead to misunderstanding. History is used to justify religious movements and political campaigns alike. Dictators may suppress history because it undermines their ideas, agendas, or claims to absolute authority. Nationalists may tell false, one-sided, or misleading stories about the past. Political leaders might mobilize their people by telling lies. It is imperative that we have an understanding of the past and avoid these and other common traps in thinking to which many fall prey. This brilliantly reasoned work, alive with incident and figures both great and infamous, will compel us to examine history anew—and skillfully illuminates why it is important to treat the past with care.
Capoeira, a Brazilian battle dance and national sport, has become popular all over the world. First brought to Brazil by African slaves and first documented in the late eighteenth century, capoeira has undergone many transformations as it has diffused throughout Brazilian society and beyond, taking on a multiplicity of meanings for those who participate in it and for the societies in which it is practiced. In this book, Maya Talmon-Chvaicer combines cultural history with anthropological research to offer an in-depth study of the development and meaning of capoeira, starting with the African cultures in which it originated and continuing up to the present day. Using a wealth of primary sources, Talmon-Chvaicer analyzes the outlooks on life, symbols, and rituals of the three major cultures that inspired capoeira—the Congolese (the historic area known today as Congo-Angola), the Yoruban, and the Catholic Portuguese cultures. As she traces the evolution of capoeira through successive historical eras, Talmon-Chvaicer maintains a dual perspective, depicting capoeira as it was experienced, observed, and understood by both Europeans and Africans, as well as by their descendants. This dual perspective uncovers many covert aspects of capoeira that have been repressed by the dominant Brazilian culture. This rich study reclaims the African origins and meanings of capoeira, while also acknowledging the many ways in which Catholic-Christian culture has contributed to it. The book will be fascinating reading not only for scholars but also for capoeira participants who may not know the deeper spiritual meanings of the customs, amulets, and rituals of this jogo da vida, "game of life."