„Brevity is the Courtesy of Ballet Poets”

Although at least thirty-five women were buried in the earlier necropolis at Vron during the period between ca. 370 / 75 and ca. 435 / 45, only three of them were equipped with typically Germanic brooches or other elements of dress. Such a low proportion of women whose dress was secured according to the Germanic custom by means of brooches, is not unusual in the burial sites of Northern Gaul, and indeed clearly distinguishes these from the burial grounds on the right bank of the Rhine in free Germania, where practically all the women used one or more brooches to fasten their clothing, and were subsequently buried with them. The evidence from Vron, as from other comparable military burial sites to the west of the Rhine (e.g. Oudenburg, Vermand, Vireux-Molhain), attesting how few women were buried with brooch jewellery , may indicate either that in actual fact very few Germanic women had accompanied their men-folk into Northern Gaul, or that the majority of women of barbaric origin had, in the process of cultural assimilation, abandoned their exotic costume at a very early date and now favoured Gallo-Roman dress. Among the typically Germanic dress ornaments observed at Vron, one may distinguish five different brooch types and one hairpin type, analysed below: 1. Simple cross-bow brooches belong to the most frequently attested and geographically widespread group of Germanic women's brooches in the 4 th and 5 th centuries (mid-4 th to mid-5 th centuries) between the Elbe and the Loire (fig. 2). They are almost invariably made of bronze, as are the two examples from Grave 163A and Pit 9. The brooch from Grave 163A, worn as a single item, is remarkable for its greater length, its short spring, and upper chord. These rather unusual features appear most frequently in the simple cross-bow brooches from the Lower Rhine and Westphalia. There, this unusual form may be dated chiefly to the first half of the 5 th century. This corresponds to the chronology proposed by Cl. Seillier, who attributes, on other evidence, Grave 163A to his Phase 3 (= ca.415/20-435/45). 2. Cross-bow brooches with a trapezoid foot-plate represent a further typological development of the simple cross-bow brooch. The silver brooch from Grave 242A possesses in addition a beaded wire decoration on the bow, together with a stamped metal plaque covering the trapezoid foot-plate, features which enable it to be classed with the Vert-la-Gravelle variant (fig. 3). This form of brooch, known almost exclusively by the archaeological evidence from the left bank of the Rhine is probably to be interpreted as the product of workshops in Northern Gaul, which are known to have manufactured other types of Germanic costume ornaments for the wives of foederati (see below). Comparison with the very similar brooches from Grave 7 at Vert-la-Gravelle (Mame) enable this example from Vron to be dated at the earliest to the last third of the 4 th century or to the turn of the century. The location of the inhumation within the burial ground suggests a date within Seillier's Phase 2 (= ca. 390-415/20). 3. The bronze hairpin from the same grave, over 17 cm long, with a small round head, belongs to the Fecamp type (fig. 4), known chiefly from the Germanic female burials and other archaeological evidence found in Westphalia and the Lower Rhine.

Reviewed by: Music Criticism in France, 1918–1939: Authority, Advocacy, Legacy ed. Barbara L. Kelly and Christopher Moore Alexander Carpenter Music Criticism in France, 1918–1939: Authority, Advocacy, Legacy. Edited by Barbara L. Kelly and Christopher Moore. Woodbridge, Suffolk: Boydell, 2018. [xii, 346 p. ISBN 9781783272518 (hardcover), $99; ISBN 9781787442573 (e-book), $24.99.] Illustrations, bibliography, index. Music Criticism in France, 1918–1939: Authority, Advocacy, Legacy is an edited collection comprised of an introduction and twelve essays by a range of contributors, including musicologists, music theorists, ethnomusicologists, and literary scholars. As editors Barbara L. Kelly and Christopher Moore note, the book is the outgrowth of a bilingual international workshop held at the University of Ottawa in 2011, which brought together scholars from Canada, the United States, the United Kingdom, and France to discuss common themes in the study of French interwar music criticism. At the outset, there are three important general observations to make about this book: it is the first detailed study of its kind; it does not focus exclusively on the big names in French art music but also on their critics and on the discourse of criticism, to provide a broader study of interwar French culture; and it offers a multifaceted approach that combines the examination and analysis of archival documents and critical writing. As such it contributes to a growing field of music criticism as a branch of contemporary musicology in its own right. The editors' introduction provides a neat and clearly written summary of the main concerns of the essays that follow. It identifies the key problems of music criticism in France's interwar period, which are addressed in a variety of ways by the contributors to this volume. There is a clear focus on the French musical canon and on the unremitting conflict between past and present in French musical culture, which is exacerbated by the deaths of the doyens of French music—Claude Debussy, Gabriel Fauré, and Camille Saint-Saëns—and pressurized by the emergence of new contemporary music, all within the context of the often highly politicized French music press. Indeed, the political role played by music criticism is perhaps the main theme of this volume, with politics encompassing everything from nationalism and the construction of French cultural identity to the internecine struggles of French composers and critics during the aesthetically unstable years between the world wars. The introduction concludes with the assertion that Music Criticism in France provides insights not only into the interwar period in question but also into our modern era, arguing that competing forces—conservative and [End Page 609] progressive—create "multiple narratives" that shape musical culture, and that the effects of this shaping carries over into the future, reminding us that "our perspective is not the only one and that our musical values, our canon and even our current analytical methods have been shaped by debates in the past" (p. 16). The first essay in the collection, "Music Criticism and Aesthetics during the Interwar Period: Fewer Crimes and More Punishments" by Michel Duchesneau, provides a fine example of the admirable clarity of writing that characterizes this entire volume and offers a solid overview of the "crisis of criticism" (p. 28) in interwar France, defined by the conflict between impressionistic and scientific criticism. Christopher Moore's "Nostalgia and Violence in the Music Criticism of L'action française" is a timely contribution that directly addresses the theme of criticism and politics by examining the practice of musical and cultural criticism in right-wing, nationalistic newspapers and the role played by criticism in the service of political ideology. In "Charles Koechlin: The Figure of the Expert," Philippe Cathé engages with one of French music criticism's most prominent figures, who surfaces frequently throughout Music Criticism in France. Cathé's essay presents Koechlin as a composer-critic of greater "breadth and range" (p. 65) than Debussy or Fauré and as a critic whose writing demonstrates not only a high literary quality but also significant technical chops. Jann Pasler describes the emergent radio technology in the interwar period in "Bleu-horizon Politics and Music for Radio Listeners: L'initiation à la musique (1935)." She notes the increasing importance of radio in...

Taking a narrative turn in psychiatry

The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Milos Obrenovic. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music music associations, etc. It was especially interested in choral societies which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI choral societies entered a period of crisis. Their political raison d'?tre was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of 'The Music Herald': aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favor of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanovic were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.

This paper looks at the attempts to found marine stations in Britain during the late 19th century and seeks to show how a fuller understanding of these events, and their success or failure, can be gained by looking both at the scientific background to the movement and at the broadly similar problems that faced their founders. The survival of early marine stations depended largely on how successfully they balanced scientific objectives with the applied work which was the price of government support. Those stations that continued into the twentieth century did so mostly by abandoning pure research in marine zoology and by concentrating on fisheries problems; only these attracted the grants essential for their survival. This was a turn of events unforeseen when the foundation of marine stations was discussed in the 1870's but ideas changed rapidly in the early 1880's when it became apparent that progress could be made only by accepting a different orientation. This paper looks at how official policy towards science in Britain affected oceanography and other aspects of marine science during the late 19th century, and how scientists hoped that the foundation of marine stations would fulfil both a scientific and a practical need for institutional bases for marine research. However, competition for scarce resources created tension and rivalry between institutions from which few escaped unscathed. The underlying reasons for such problems cannot generally be dealt with extensively in the histories of individual stations but they contribute much to our understanding of how such institutions developed in the late 19th and early 20th centuries. The paper concludes with a brief review of individual stations, particularly those in Scotland.

The aim of the research is to highlight two specific functions of translation, namely political and imagological, based on Ukrainian-German translation over the past three years. The study is relevant because of the need to demonstrate the importance of translation in the political arena, primarily in creating an image of Ukraine, its literature and culture abroad. The object of the study is the impact of translation on the formation of public opinion in Germany about Ukraine and its literature, and the subject of the study is the verbalisation of the imagological function of translation in all its manifestations. The research is based on the book by Serhiy Zhadan “Himmel über Charkiw. Nachrichten vom Überleben im Krieg” (2022) published in Germany, reviews of the book, and public discussions about the author and Ukrainian literature in the German-language press and social media. The main results of the study: the book is characterised as a translation without the original text; the role of translation field agents in preparing the publication and ensuring its reception in the German-speaking literary scene is described; the reviews and the feedback on the publication as well as the frequency of lexemes in them are analysed and the results are visualised in a word cloud; translation approaches are described. Conclusions: The book “Himmel über Charkiw” is a creative intermedial translation product that holds a key role in the socio-political and literary space of Germany thanks to the cooperation of translation field agents with solid linguistic, educational and symbolic capital and the active position of intercultural mediators and promoters of Ukraine: the author, the translators, the publishers and the experts. The book fulfilled an important political and imagological function, offering a multi-vector positive image of Ukrainian society defending its independence and cultural achievements, and appealing to the German-speaking audience to support Ukraine. The discussions around the book increased its media presence and focused on a number of political, aesthetic, cultural and emotional aspects that sensitised the reader to the perception of Ukraine. This research was supported by a grant from the MSCA4Ukraine project, which is funded by the European Union.

As a nation grounded in the appropriation of Native land and the destruction of Native peoples, Christianity has helped define what it means to be “American” from the start. Even though neither the Continental Congress nor the Constitutional Convention recognized a unifying set of religious beliefs, Protestant evangelicalism served as a force of cohesion that helped Americans rally behind the War for Independence. During the multiple 19th-century wars for Indian removal and extermination, Christianity again helped solidify the collapse of racial, class, and denominational categories behind a love for a Christian God and His support for an American nation. Close connections between Christianity and American nationhood have flared in popularity throughout American history, particularly during wartime. In the late 19th and 20th centuries, the closely affiliated religious and racial categories of Christianity and whiteness helped solidify American identity. However, constructions of a white, Christian, American nation have always been oversimplified. Slavery, land-grabbing, and the systematic genocide of Native peoples ran alongside the creation of the American myth of a Christian nation, founded in religious freedom. Indeed, enslavement and settler colonialism helped contrive a coherence to white Protestantism during a moment of profound disagreement on church government, theology, and religious practice. During the antebellum period, white Protestants constructed a Christian and American identity largely in opposition to categories they identified as non-Christian. This “other” group was built around indigenous, African, Muslim, and sometimes-Catholic religious beliefs and their historic, religious, and racial categorizations as “pagans,” “heathens,” and “savages.” In the 19th-century republic, this “non-Christian” designation defined and enforced a unified category of American Protestants, even though their denominations fought constantly and splintered easily. Among those outside the rhetorical category of Protestantism were, frequently, Irish and Mexican Catholics, as well as Mormons. Enforced segregation of African Americans within or outside of white Protestant churches furthered a sense of Protestant whiteness. When, by the late 19th century, Protestantism became elided with white middle class expectations of productive work, leisure, and social mobility, it was largely because of the early 19th-century cultural associations Protestants had built between white Protestantism, republicanism, and civilization. The fact that the largest categories of immigrants in the late 19th century came from non-Protestant cultures initially reified connections between Protestantism and American nationalism. Immigrants were identified as marginally capable of American citizenship and were simply considered “workers.” Protestant expectations of literacy, sobriety, social mobility, and religious practice helped construct Southern and Eastern European immigrants as nonwhite. Like African Americans, New Immigrants were considered incapable of fulfilling the responsibilities of American citizenship. Fears that Catholic and Jewish immigrants, like African Americans, might build lasting American institutions to change the cultural loci of power in the country were often expressed in religious terms. Groups such as the No-Nothing Party, the Ku Klux Klan, and the Immigration Restriction League often discussed their nationalist goals in terms of historic connections between the nation and Anglo-Protestantism. During the Great Depression and the long era of prosperity in the mid-20th century, the Catholic and Jewish migrants gradually assimilated into a common category of “whiteness” and American citizenship. However, the newly expansive category of postwar whiteness also further distanced African Americans, Native Americans, Asian Americans and others as perpetual “foreigners” within a white, Protestant, Christian nation.

The incentive for writing this book was another book published by the Chemical Society about 60 years ago, titled British Chemists [1] that completely ignored women—as if there had not been any women among the chemists of earlier generations. The authors felt that the early women chemists in Britain, quite a few of them working already as early as the late 19th century, deserve credit. The book wholly justifies this. As the Introduction tells us, these women chemists rarely received recognition; most of them were unmarried and could never play a leading role in the profession. But they were most enthusiastic about and dedicated to chemistry—this is what must have given them the strength to fight all barriers. The first of these barriers was getting a secondary education (Chapter 1, ‘‘Setting the Scene’’) and then being accepted to a university. In secondary schools— as the Rayner-Canhams argue—throughout the early 20th century, there was ambivalence about why girls need an academic education at all. It was assumed that most girls would become wives and mothers and only a small minority would be interested in pursuing a career. Who would then be the curriculum aimed at? This reminds us of the American movie, Mona Lisa Smile, set in the 1950s in a rich private New England liberal arts college for women, where even some of the most intelligent and interested girls thought that their role in life was to be a good housewife and mother—and only that. If this was still the attitude in the United States in the 1950s, certainly it was even more so in the late 19th and early 20th century probably everywhere. It is quite astounding to read how relatively early, already in the late 19th century, the demand for university education appeared among women. The authors ascribe this to several factors. In the second half of the 19th century, several women’s organizations were established that stood up for higher education for middle-class women. In fact, middle-class women started to look much farther than ever before when planning their future. Several magazines supported this attitude. One example from an article in 1914 [2]: ‘‘Woman is taking to herself a new significance. She is discovering that she, as well as man, has another M. Hargittai (&) Materials Structure and Modeling Research Group of the Hungarian Academy of Sciences, Department of Inorganic and Analytical Chemistry, Budapest University of Technology and Economics, P.O. Box 91, 1521 Budapest, Hungary e-mail: hargittaim@mail.bme.hu

Introduction For a long time, firms have been improving product function, performance, price-performance ratio (hereinafter uniformly referred to as functional aspects of product design), and product appearance. Nevertheless, the current market situation is that many products in the same category are similar in quality, price and appearance. Product homogeneity leads to excess supply, and this situation is objectively long-standing. For consumers, positive emotions often play a key role in their purchase decisions. Yet, when most products seem to be similar, it is difficult to evoke more positive emotions of consumers to increase their willingness to pay. This paper shows that besides product appearance and functional aspects of product design, the connotations of product aesthetics should also be focused. In other words, aesthetic aspects of product design should include both product appearance and connotations. Connotations, as deep meaning inside product aesthetics, can evoke either consumers’ memories of the past or imagination of new creative ideas, or both (e.g., Starry night umbrella by MoMA Design Store, Sakura Masking Tape by Bande). Although the contents of memory recall or imagination might differ across consumers, positive emotions evoked in that process will increase willingness to pay. A new conceptual model is proposed in this paper, which shows that functional aspects, product appearance, and the connotations of product aesthetics could cause different psychological activities, and positive emotions evoked in those processes can enhance willingness to pay. When most products tend to be similar, the connotations of product aesthetics could be a promising area for firms today to make their products distinctive and increase their market share. Product Design and Consumer Emotions (1) Elements of Product Design Product design is considered as the set of properties of a product, including both functional and aesthetic aspects (e.g., Homburg, Schwemmle, & Kuehnl, 2015; Jindal, Sarangee, Echambadi, & Lee, 2016; Luchs & Swan, 2011). Functional aspects of product design consist of function, performance, and price-performance ratio. Aesthetic aspects mainly refer to product appearance, consisting of visual elements such as color, shape, and material. (2) Relationship between Product Design and Consumer Emotions Previous research shows that functional aspects of product design could evoke positive emotions like satisfaction, and aesthetic aspects could please our senses and make us feel delight (e.g., Bloch 1995; Chitturi, Raghunathan, & Mahajan, 2008). Furthermore, Norman (2004) points out that emotional factors can be the key to the success of product design. If a product could evoke consumers’ positive emotions, those emotions would arouse willingness to pay. If not, consumers might not have the desire to buy it. The Connotations of Product Aesthetics Evoking Positive Emotions of Consumers As Barnard (2005) suggests, as the deep level of meaning, connotations refer to one’s feelings or thoughts caused by a design. This paper proposes that the connotations in product aesthetics could either remind consumers of their past experiences or trigger their imagination to think about new creative ideas, or both. Emotional resonance could be achieved and finally facilitate purchase behaviors. In our daily lives, there are many products that have not only beautiful appearances but also the connotations of product aesthetics. For instance, Starry Night Umbrella by MoMA Design Store (Figure 1). MoMA Design Store released an umbrella patterned with stars, the moon and the sky that swirl, which reminds consumers of the masterpiece The Starry Night (1889) by Vincent Van Gogh. When encountering this umbrella, consumers who love the works of Van Gogh will have positive emotions and a strong desire to buy it. Cherry Blossom Masking Tape by Bande (Figure 2). Bande, a Japanese masking tape brand, launched a masking tape with sakura (cherry blossom in Japanese) petals design. Its real-like floral design can remind consumers of spring or their own stories with cherry blossom and trigger their imagination to come up with lots of creative ideas such as using it to decorate their diaries, laptops, furniture, and so on. Besides the original function of tapes, the connotations inside product aesthetics could encourage consumers to think creatively and feel happy. A Conceptual Model of Product Design, Positive Emotions, and Market Share This paper proposes a conceptual model (Figure 3), showing that different aspects of product design can evoke consumer emotions and those positive emotions have a positive effect on willingness to pay. First, functional aspects of product design are very important. Consumers compare function, performance, and price-performance ratio among many products, which is considered as a process of rational thinking. Products with high qualities and affordable prices can make consumers feel satisfied. Positive emotions (E1) evoked by functional aspects can enhance the willingness to pay and bring firms market share (S1). Then, on the bases of functional aspects, firms use different colors, shapes, and materials to make product appearance attractive. Sophisticated appearances of products can please the senses of consumers and evoke positive emotions (E2). That could increase their desires to buy and bring more market share (S2) for firms. Nevertheless, these two parts are what most firms can do today. To make products distinctive, firms should add connotations into aesthetic aspects of product design, which can trigger consumers’ memory recall of their past experiences or their imagination of new creative ideas, or both. Although the contents of recall and imagination are different across consumer, the arousal of positive emotions (E3) will enhance willingness to pay and finally bring new market share (S3). Thus, two equations derived are as follows: Positive Emotions = E1+E2+E3 Market share =S1+S2+S3 If firms take all these aspects of product design into consideration, their products will evoke consumers’ positive emotions adequately to increase willingness to pay, and help firms occupy more market share from fierce market competition. General Discussions On the market today, lots of products have beautiful appearances and seem to be similar in functional aspects of product design. To make products distinctive, this paper considers that firms should also attach importance to the connotations of product aesthetics. The connotations will remind consumers of their past experiences or let them imagine new creative ideas, or both. Positive emotions evoked during that process increase willingness to pay. That is a promising area for firms today to gain more consumers and new market share. Since the connotations of product aesthetics could be influenced by factors such as age and culture, it is important for marketers to investigate and analyze consumers’ understandings of aesthetics from different ages and cultures, then feed it back to designers to help them design successful products in the future.

The article outlines the issue of genre-transformation of tragedy in 19th-century Polish drama. The fundamental question is tragedy’s potential after liberation from the most important structural categories of the genre: the three unities, catharsis and anagnorisis. The discussion on the 19th-century patterns of tragedy, derived from contemporary theory, criticism, and theatrical production, are based on research by Marek Dybizbański, who presented an interesting analysis of the problem, which was an important indicator of contemporary literary thought, in his study called Tragedia polska drugiej połowy XIX wieku — wzorce i odstępstwa [The Polish Tragic Drama in Late 19th Century — Patterns and Divergence]. The issues discussed were: disproportion between expectations and effects, indicated by repertoires and contemporary debate on drama, lack of standard productions of tragedy, matched by great surplus of texts that tried to set the standard, and by programmatic declarations on how to do it. The author, following Dybizbański’s discussion, focuses on the question why the 19th century in Poland was, for tragedy, a lost time.

The article examines musical culture and education formation and development in the Tavria governorate in the late 19th and early 20th centuries. This period in the Southern region of Ukraine is characterized as an era of social and cultural uplift, progressive changes in the educational system, and enhancing the role and place of music and singing in students’ education. Moreover, it is marked by increased attention of the governorate residents to the problems of musical and aesthetic education of children and youth, the growth of public and private educational initiatives, and the formation of general and professional music education.The article identifies the reasons for the greater intensity of the education system development in the Crimean districts compared to the mainland ones; it also provides statistical data on the people’s literacy and education rate in the Tavria governorate in the early 20th century. The article also explains the role of private musical institutions and the influence of the artistic intelligentsia, outstanding musicians and composers on the musical culture and education development in the region.The article highlights that in the late 19th century, Yalta became – to a certain extent – a cultural centre of the Tavria governorate due to its well-developed concert and theatre infrastructure. Yalta and Simferopol have become a focus of establishing public associations with outreach, organizational, musical and educational functions. Activities of the members of these musical societies in Crimean cities resulted in the opening of music courses and classes and one of the first people's music schools in the Russian Empire with free-of-charge tuition. Besides, they arranged public concerts, music evenings, and tours of prominent composers and musicians.The article provides a historical analysis of the establishment of branches of the Imperial Russian Musical Society (IRMS) in the Tavria governorate, the role of the IRMS in the concert, performance and educational activities, its impact on the cultural, educational and social processes in the South of Ukraine, in particular, the establishing the institution of a secondary level of professional musical education – the Simferopol Musical College.

The heights of lower- and upper-class English youth are compared to one another and to their European and North American counterparts in the late 18th and early 19th centuries. The height gap between the rich and poor was the greatest in England, reaching 22cm at age 16. The poverty-stricken English teenagers were among the shortest for their age so far discovered in Europe or North America; in contrast, the English rich were the tallest in the world in their time: only 2.5cm shorter than today's US standard. Height of the poor declined in the late 18th century, and again in the 1830s and 1840s conforming to the general European pattern, while the height of the wealthy tended rather to increase until the 1840s and then levelled off. The results support the pessimistic view of the course of living standards among the ultra-poor in the Industrial Revolution period.

The aim of this study is to elaborate comparative portraits of Korean and Japanese beauty in the late 18th and early 19th centuries. Six portraits of beauty in the Korean Joseon Dynasty (early 19th century) and 5 in Japanese Edo Dynasty (late 18th century) were analyzed. Twenty anthropometric items were applied to the measure of the features on each portrait and 18 proportional indices of the face were calculated. Among the 18 indices, Korean and Japanese beauty did not show any significant differences in 13, but in 5: 1) the ratio of eye fissure to intercanthal distance was greater in Japanese beauty; 2) eye inclination was greater in Japanese beauty; 3) the ratio of nasal width to intercanthal distance was greater in Japanese beauty; 4) the ratio of nasal and facial width was greater in Korean beauty; and 5) the ratio of vermilion size to mouth width was greater in Japanese beauty. It is assumed that Korean had narrower eye fissure, lower eye inclination, wider nasal ala, and thinner lip than what Japanese craved during that era.

Despite increasing research into changes in the discharge of the River Meuse, estimates of the river’s sediment yield are less forthcoming. Three published studies (in 1883, 1982, and 1987) have estimated suspended sediment yield at the Belgian-Dutch border; the latter two studies surmise that this increased substantially between the late 19th and 20th Centuries. In this paper a more recent and longer time-series of observed discharge and suspended sediment data (1995 – 2005) is used to estimate mean annual suspended sediment yield (ca. 386,000 Mg.a−1), and the results of the previous studies are revisited. New insights suggest that those studies do not in themselves provide evidence of increased sediment yield: the higher estimates in the late 20th Century could equally be due to interannual variability or methodological differences. Furthermore, there has been no significant increase in rainfall erosivity between the late 19th and 20th Centuries, and the effect of land use change over that time would have been to cause a decrease in suspended sediment yield, rather than an increase.

The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.