History of biological warfare and bioterrorism.

Bioterrorism literally means using microorganisms or infected samples to cause terror and panic in populations. Bioterrorism had already started 14 centuries before Christ, when the Hittites sent infected rams to their enemies. However, apart from some rare well-documented events, it is often very difficult for historians and microbiologists to differentiate natural epidemics from alleged biological attacks, because: (i) little information is available for times before the advent of modern microbiology; (ii) truth may be manipulated for political reasons, especially for a hot topic such as a biological attack; and (iii) the passage of time may also have distorted the reality of the past. Nevertheless, we have tried to provide to clinical microbiologists an overview of some likely biological warfare that occurred before the 18th century and that included the intentional spread of epidemic diseases such as tularaemia, plague, malaria, smallpox, yellow fever, and leprosy. We also summarize the main events that occurred during the modern microbiology era, from World War I to the recent 'anthrax letters' that followed the World Trade Center attack of September 2001. Again, the political polemic surrounding the use of infectious agents as a weapon may distort the truth. This is nicely exemplified by the Sverdlovsk accident, which was initially attributed by the authorities to a natural foodborne outbreak, and was officially recognized as having a military cause only 13 years later.

Timing History: The Introduction of Graphical Analysis in 19th Century British Economics

The introduction of time-series graphs into British economics in the 19th century depended on the « timing » of history. This involved reconceptualizing history into events which were both comparable and measurable and standardized by time unit. Yet classical economists in Britain in the early 19th century viewed history as a set of heterogenous and complex events and statistical tables as giving unrelated facts. Both these attitudes had to be broken down before time-series graphs could be brought into use for revealing regularities in economic events by the century's end.

Silk and ink. What were silk wallets, and what can they, together with Jacobina Charlotta Munterhjelm’s diary, tell us about the gentry women’s lives in the 18th and 19th century?

The subject of this thesis is the elaborate silk wallets and what can they tell about the gentry women’s lives in the 18th and 19th century Finland together Jacobina Charlotta Munsterhjelm’s diary. Silk wallets were made of silk and decorated by embroidering, they were used to preserve memorabilia and letters. Making these lavish items took time, skills and materials, and the decorations usually contained symbols and messages. As main source there are silk wallets from the collections of the National Museum of Finland and Satakunta Museum, as well as the diary of Jacobina Munsterhjelm from 1799 to 1801. By interpreting these items we can build a picture of gentry women’s lives. The culture of silk wallets is European, the silk wallet phenomenon studied is Swedish-Finnish, and the research is limited mainly in Finland by its sources. This research has been carried out by constructing a cultural context to the silk wallets with the help of Ginzburg’s methods from his work Juusto ja madot - 1500-luvun myllärin maailmankuva. Silk wallets represent the gentry as well as the communication culture in the 18th and 19th centuries, but have remained unstudied. The thesis consists of two parts, the first focuses on the silk wallets, from where were they developed, how they were made, and to their decorations. The silk wallet culture developed among the gentry handicrafts during the 18th century and faded during the early 20th century. The making of the silk wallets demanded time, skills and materials. The decorations contain messages and symbols – they contain the possible affections the makers might have toward the receiver, and reflect the status and qualities of the receiver. The second part examines the makers, the gentry women, and the handicraft culture which played a big role in their lives, through silk wallets and the diary of Jacobina Munstehjelm. From there it continues to the affections and meanings which can be found from the silk wallets.

Essays on the history of Brazilian dipterology. I. The first notices about Brazilian Diptera (16th century)

Essays on the history of Brazilian dipterology. I. The first notices about Brazilian Diptera (16th century). This paper presents a historical resume of the first notices about Brazilian Diluent during the 16th century, given by Francisco Pires in 1552 (the oldest mention known), Jose de Anchieta, Leonardo do Valle, Pero de Magalhaes de Gandavo, Jean de Lery and Gabriel Soares de Souza, ending with Fernao Cardim, who made the last mentions of Brazilian Diptera in that century.

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century)

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century). Notices from the Brazilian Diptera from the 17th century come mainly from two foreign invasions occurred in Brazil, the first one by the French in Maranhao and the second by the Dutch in northeastern Brazil. This paper includes reports of Fathers Claude d'Abbeville and Yves d'Evreux and from Piso and Marcgrave, the last two presenting the first illustrations of Brazilian Diptera. The paper also includes reports of Friar Laureano de la Cruz, Father Joao de Sotto Mayor and Mauricio de Heriarte.

Essays on the history of Brazilian dipterology: II. notices about Brazilian Diptera (17th century)

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century). Notices from the Brazilian Diptera from the 17th century come mainly from two foreign invasions occurred in Brazil, the first one by the French in Maranhão and the second by the Dutch in northeastern Brazil. This paper includes reports of Fathers Claude d'Abbeville and Yves d'Evreux and from Piso and Marcgrave, the last two presenting the first illustrations of Brazilian Diptera. The paper also includes reports of Friar Laureano de la Cruz, Father João de Sotto Mayor and Maurício de Heriarte.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Women in Eighteenth Century London: Female Coming of Age in Frances Burney’s Evelina, Cecilia, and The Witlings

The late eighteenth-century author Frances Burney is best known for popularizing the “comedy of manners,” a literary style later adopted by Jane Austen. Burney’s novels, journals, and plays offer an intriguing commentary on contemporary social customs and etiquette. In particular, she voices the concerns and desires of women, leading scholars to focus on the feminist overtones of her writing. Although she carefully examined female roles in the household and family structure, Burney also provided an insider’s perspective into London high life. As an acclaimed author and member of the royal court, Burney offers a rare insight into the lives of the urban elite. For these reasons, I have chosen to examine three of her works within the context of their London setting. In Evelina, Cecilia, and The Witlings, Burney examines women’s struggle for independence against the backdrop of the city. These works offer a new interpretation of the female Bildungsroman, or coming of age story. Burney shows how London life influences her heroines’ expectations, ambitions and desires. Evelina’s coming of age centers around the quest for family and social acceptance, while the two Cecilias of Cecilia and The Witlings confront the financial pressures that accompany their inheritance. Ultimately, the three protagonists learn important lessons that are specific to city life. Although Burney concludes each story with the heroine’s marriage, her focus is not on romance, as has been suggested, but on the cultural landscape of the city. Coming of age in her stories is inextricably connected to the diverse challenges and opportunities presented to urban women.

The history of Enniskillen with reference to some manors in co. Fermanagh, and other local subjects,

Part of the plates are printed on both sides.

The history and antiquities of the county of Somerset, collected from authentick records, and an actual survey made by the late Mr. Edmund Rack ... Adorned with a map of the county, and engravings of Roman or other reliques, town-seals, baths, churches, and gentlemen's seats.

Mode of access: Internet.

Tierra y revolución : La campaña salteña en las primeras décadas del siglo XIX

La formación de la Junta de Gobierno en Buenos Aires en 1810 dio inicio a un proceso político que adquirió derroteros diversos en el interior del extenso territorio perteneciente al Virreinato del Río de la Plata. Al igual que en las provincias del Alto Perú, la jurisdicción de Salta fue escenario de una guerra de recursos de la cual participó la población rural integrando las milicias provinciales o "Escuadrones Gauchos". Interesa entonces observar en qué medida el conflicto bélico agudizó y puso en evidencia las tensiones existentes por los derechos de propiedad y usufructo de la tierra ya manifestadas a fines del siglo XVIII, particularmente en el valle de Lerma, y su incidencia en las disputas en torno a la tierra que tuvieron lugar luego de concluida la guerra en la provincia de Salta.

Tierra y revolución : La campaña salteña en las primeras décadas del siglo XIX

La formación de la Junta de Gobierno en Buenos Aires en 1810 dio inicio a un proceso político que adquirió derroteros diversos en el interior del extenso territorio perteneciente al Virreinato del Río de la Plata. Al igual que en las provincias del Alto Perú, la jurisdicción de Salta fue escenario de una guerra de recursos de la cual participó la población rural integrando las milicias provinciales o "Escuadrones Gauchos". Interesa entonces observar en qué medida el conflicto bélico agudizó y puso en evidencia las tensiones existentes por los derechos de propiedad y usufructo de la tierra ya manifestadas a fines del siglo XVIII, particularmente en el valle de Lerma, y su incidencia en las disputas en torno a la tierra que tuvieron lugar luego de concluida la guerra en la provincia de Salta.

Tierra y revolución : La campaña salteña en las primeras décadas del siglo XIX

La formación de la Junta de Gobierno en Buenos Aires en 1810 dio inicio a un proceso político que adquirió derroteros diversos en el interior del extenso territorio perteneciente al Virreinato del Río de la Plata. Al igual que en las provincias del Alto Perú, la jurisdicción de Salta fue escenario de una guerra de recursos de la cual participó la población rural integrando las milicias provinciales o "Escuadrones Gauchos". Interesa entonces observar en qué medida el conflicto bélico agudizó y puso en evidencia las tensiones existentes por los derechos de propiedad y usufructo de la tierra ya manifestadas a fines del siglo XVIII, particularmente en el valle de Lerma, y su incidencia en las disputas en torno a la tierra que tuvieron lugar luego de concluida la guerra en la provincia de Salta.

Mutations of the Ideal Sociability in the Eighteenth Century: From Insel Felsenburg to Goethe

In Insel Felsenburg, the most popular of the German Robinsonades, the link between this novelistic subgenre and utopia becomes obvious, because, unlike what had been the case in Robinson Crusoe, the island functions as a contrast with respect to the starting point: Europe, conceived as unmoral and far away from God. The Felsenburg Island becomes a symbol of a patriarchal-bourgeois ideal society, whose centre is the family. It is conceivable that this idealized sociability form is reelaborated in the last third of the 18th Century, when the utopian story is temporalized and the Robinsonades lose their force. Novels such as Anton Reiser and Wilhem Meisters Lehjahre testify for these transformations.