Darwin's vertical thinking: Mountains,mobility, and the imagination in 19th-century geology

Like other aspiring geologists in the 1830s, Darwin focused heavily on the rising and falling of the earth's crust. I use his time in the Andes to underscore the importance he placed on larger questions of vertical movement, which mountains helped to solidify in his mind. His most impressive ramblings occurred in 1835 on two high passes in the Andes. Prior to his upland journey, he was well prepared to see the gradual movement of the earth's crust, but his time in the mountains honed his vertical vision. His actual travels up and over enabled him to think more clearly about rise and fall, and how corresponding geographies could link the past to the present. Mountains were instructive backdrops to his theorizing, partly because he traveled through them, but also because his time there, linked with other geographies, became a means to foster his thinking both spatially and temporally. He did not think about mountains, but with them and through them. He is a good example of the broader vertical consciousness that directed many sciences at this time.     

Brief Encounter: A Reminiscence Touching on Margaret Bourke‐White

In the 1890s photographers began making artistic portraits of their subjects in the home environment. These contrasted to the stiff studio portraits that were standard at the time; key elements were casual poses and natural lighting. For the next few decades, amateur artistic photographers (pictorialists) and professionals freely interacted and both aggressively pursued making home portraits. Realising a large market, publishers issued books on the subject and manufacturers produced specialised equipment.     

Impressionism and Photography

This paper aims to show that vernacular photography contributed subtly to changing the manner in which Impressionist painters depicted landscape and the human figure. This new way of approaching reality can be discerned only for a very brief period in Impressionism, between 1865 and 1880, although signs of the impact of photography on painting are already to be seen in Daguerreotypes of the 1840s. The influence of photography becomes most striking after 1859, with the production of stereoscopic views of human figures on the boulevards and elsewhere. Painters never explicitly acknowledged these influences, however, and it may be that these influences were assimilated unconsciously in part.

Cet essai veut montrer que la photographie, dans sa production la plus courante et la plus anonyme, a subtilement contribué à changer la façon dont les peintres impressionnistes traduisaient le paysage et la figure humaine. Cette nouvelle façon d'aborder la réalité on ne peut l'observer dans la peinture impressionniste que pendant une très courte période entre 1865 et 1880, mais on en trouve déjà des signes avant coureur déjà dans certains daguerréotypes des années 1840. Elles seront particulièrement spectaculaires à partir de 1859 avec le traitement par la vue stéréoscopique de la silhouette humaine sur les boulevards. Les peintres n'ont cependant jamais mentionné ces sources indiscutables dont l'action sur eux a peut être été en partie inconsciente.     

Your loving auntie & God mama,Julia Cameron

Abstract

Written almost immediately upon her return from her 10 years in India, and probably at her temporary residence, Ephrahim Common, Tunbridge Wells, Kent, this note is a typical example of Mrs Cameron's effusive, loving style. The letter dates from a time 15 years before Julia Margaret touched a camera, and it is to her niece Julia PrinsepJackson, who was then only two years old. She was a god-daughter to Mrs Cameron, and later her most frequent model. Indeed, Julia Jackson (1846–1895) became one of the most beautiful of 19th-century women. Her first husband, Herbert Duckworth, died in 1870, and eight years later she married Sir Leslie Stephen, editor of the Dictionary of National Biography. Two of her children became famous: Vanessa Bell as a painter, Virginia Woolf as a writer. Julia eventually wrote the DNB entry (from ‘personal knowledge’) of her eccentric aunt, who was renowned for her taste in shawls, her generosity in giving them as presents, and for fixing the images of certain 19th-century great men for all time. The ‘two Hardinges’ refers at least in part to Julia Margaret's son Hardinge Hay Cameron, godson of Lord Hardinge, the recently-retired Governor-General of India     

Charles G. Gross: Award for Distinguished Scientific Contributions.

This document presents the citation awarded to Charles G. Gross, recipient of the 2005 APA Award for Distinguished Scientific Contributions. A brief biography and a selected bibliography of Gross accompany the citation. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

《大卫·科波菲尔》中的人物刻画技巧与人物特征分析

狄更斯是19世纪欧洲最伟大的批判现实主义作家之一,他对劳动者的同情和赞美,其小说错综复杂的故事情节以及幽默风趣的语言都为他赢得了声名。人物塑造则是狄更斯小说一个最为重要的组成部分。从语言、行为、人物外貌等方面分析《大卫.科波菲尔》中的人物刻画技巧和人物性格特征。     

从收藏到建筑从建筑到收藏——纽约克罗埃斯特博物馆

纽约克罗埃斯特博物馆是一个收藏中世纪建筑与艺术品的博物馆。周围20英里的森林保证了它的永久环境与景观。建筑师查尔斯·科伦斯利用中世纪建筑构件的收藏品建成了这个举世瞩目的博物馆,并使之成为纽约大都会博物馆的分馆。欧洲12-14世纪不同地区和不同风格的建筑样式得以再现,不仅有效地保护了收藏品,还把藏品还原到原有的建筑空间与环境当中,成为建筑史与博物馆历史上的奇迹。     

La Andalucía Médica; The First Journal of Medical Photography in Spain

Abstract

The publication of a journal of medical photography implies recognition of photography's role in medicine. This is certainly exemplified by the Revue Médico-Photographique des Hôpitaux de Paris and the Iconographie Photographique de la Salpêtrière. The first of these, founded in 1869 in Paris by Dr. de Montméja, is the earliest medical photographic journal known. The second was founded in 1875 by Drs. Bourneville and Regnard. The birth of both journals was possible only because adequate photographic service facilities in hospitals had already come into being. Thus, the Revue Médico-Photographique des Hôpitaux de Paris appeared in the same year in which Drs. Hardy and Montméja began such a service at the Hospital ‘Saint Louis’ of Paris. Similarly, the Iconographie Photographique de la Salpêtrière appeared two years after similar facilities had been created at the Hospital de la Salpêtrière.     

探求查尔斯·柯里亚建筑作品中的物质性与精神性——以贝拉布尔住宅区为例

该文以分析查尔斯·柯里亚(Charles Correa)建筑作品中物质性与精神性的表达为切入点,从价值观念和意识形态两个方面,结合他深邃的建筑思想,通过对贝拉布尔住宅区的深入剖析,全面解读了查尔斯·柯里亚(Charles Correa)的建筑作品对印度社会生活的思考,探求了设计师在建筑作品中体现物质性与精神性的设计方法。