Gregorio Paci, Sergey N. Solodukhin
Hasil untuk "Auxiliary sciences of history"
Menampilkan 20 dari ~6923807 hasil · dari DOAJ, Semantic Scholar, CrossRef
Carmen Mª Ruiz Vivas
Dmitrii A. Prokhorov
This article examines the history of customs operations in Yalta Uyezd of Taurida Governorate in the second half of the 19th century. Based on archival documents (some of them are being introduced into scientific circulation for the first time), the article traces the main stages of the customs structures on the Southern Coast of Crimea: the Yalta customs outpost (which later received the status of customs) and the Alushta customs transit point. One of the distinctive features of their operations was the emergence of the Crimean Riviera as one of the most attractive resort regions of the Russian Empire in the second half of the 19th century, which led to a significant influx of Russian citizens for recreation and medical treatment. This was followed by the active development of the entire resort infrastructure of the Southern Coast of Crimea as well as an increase in the volume of trade transactions conducted through the customs offices located there. The documents on their establishment, staff, and activities, reports and dispatches from representatives of the regional administration, lists of employees and other materials studied by the author made it possible to carry out a comprehensive analysis of the activities of these bodies. The specific features of their administrative communications and the content of business correspondence with higher-level agencies were revealed. The information on trade turnover, the powers of customs officials, and their activities was ascertained. The information on measures taken against individuals deemed politically unreliable by the authorities, goods prohibited from import into the empire, and organization of anti-smuggling measures was obtained. The information on the control and accounting of export-import transactions conducted through the Yalta customs office and the Alushta customs transit point was analyzed.
Riccardo Montanari, Philippe Colomban, Maria Francesca Alberghina et al.
There has been long-standing debate as to whether <i>Kami Fumi-e</i> (paper images to be trampled on) had actually been used in image trampling sessions as part of the 250-year persecution of Christianity enforced by the Tokugawa Shogunate. Sacred images of Christianity officially recorded to have been trampled on are housed in the permanent collection of the Tokyo National Museum and are almost uniquely made of metal alloy. The controversy regarding paper images, apart from the medium being considered unsuitable for such extreme use, was fueled by the appearance of a significant number of them in museum collections and institutions worldwide in the 20th century. Most of the prints bear dates from different eras of the Edo period, sometimes hundreds of years apart; therefore, long-standing arguments regarding their authenticity marked the last century. In order to distinguish later copies from potentially original pieces, if ever existed, XRF, Raman, and FTIR analytical techniques were used to study the materials characterizing them. In addition, detailed observation of the main visual features (overall design composition, inscriptions, paper support, etc.) was carried out to highlight potential discrepancies that could pair with scientific evidence and lead to a definitive conclusion.
Andrei Crisan, Massimiliano Pepe, Domenica Costantino et al.
Cultural heritage conservation demands interdisciplinary and complex documentation and analysis while facing increasing pressure to adopt sustainable and productive practices. This paper bridges these gaps by proposing a methodology and a set of requirements for Building Information Modeling (BIM) models aligned with European directives for sustainability and productivity in the Architecture, Engineering, and Construction (AEC) sector. Leveraging 3D scanning and intelligent models, we establish information needs specific to conservation, encompassing material properties, historical data, and decay analysis. Interoperability, compatibility with advanced analytical tools, and open-source formats are emphasized for seamless data integration and accessibility. We further introduce two use cases for BIM-enabled heritage conservation, illustrating the application of our proposed methodology in real-world scenarios. These cases exemplify how BIM models cater to the specific needs of cultural heritage sites, from their initial condition assessment to ongoing preservation efforts. Through these examples, we demonstrate the adaptability of BIM technology in capturing and managing the complex information associated with heritage conservation, including structural details, material characteristics, and historical significance. Our work highlights the potential of BIM to revolutionize heritage conservation practices, offering a digital backbone for documentation, analysis, and management that aligns with sustainability and productivity goals.
Tara Zammit
Ignacio Clemente-Conte, Ermengol Gassiot Ballbè, Javier Rey Lanaspa et al.
Con este trabajo queremos llamar la atención sobre el proceso de excavación y análisis de materiales líticos provenientes de contextos calizos, como son los correspondientes a la vertiente sur de los Pirineos. La experiencia adquirida durante la excavación de Coro Trasito (Tella-Sin, Huesca) nos ha permitido distinguir entre los clastos y los fragmentos naturales de la propia cueva, una serie de lascas y fragmentos de caliza que presentan rastros de haber sido utilizados como instrumentos de trabajo. Este conjunto supone el 33,3% de los restos líticos recuperados en el sitio, porcentaje similar al del sílex (un 33,1%). En este conteo no se contemplan los cantos en caliza, que sí se han registrado en otros sitios del Neolítico antiguo del Pirineo central. La ausencia de este registro en otros yacimientos no permite realizar comparaciones en cuanto al desarrollo tecnológico de los grupos neolíticos que habitaron ese territorio.
Die Redaktion
Denis Solène, Burnez-Lanotte Laurence, Trampota František
Technological analysis of variations in blade production and the flow of siliceous raw materials revealed new understandings of different types of socio-economic functioning on a supra-regional scale. In this article, we are focusing on supra-regional relationships between technical groups and the social dynamics involved in early Neolithic mobility within the communities of East Belgium. A detailed technological analysis was done to highlight discrete characteristics that permit the identification of distinct technical groups within the village of Vaux-et-Borset. Four technical groups have been identified in the Blicquy/Villeneuve-Saint-Germain village, whereas two technical groups have been highlighted for the previous Linear Pottery culture (LPC) occupation. The search for the origin of the different technical groups was to understand the micro-processes of Neolithization in East Belgium. A central area with a high-density population during the pioneer LPC colonization, Hesbaye became a peripheral occupation area of the Blicquy/Villeneuve-Saint-Germain culture. This fringe territory seemed to attract neighbouring communities in different ways. Multidirectional dynamics seems to characterize this small territory leading to the coexistence of a high diversity of technical groups.
Alexander S. Haworth, William J. Brackenbury
Erik Linstrum
The case history in the colonial context was a hybrid form, caught between bureaucratic pressures toward racialization, aggregation, and generalization, on the one hand, and the individualistic bias of the genre, on the other. This tension posed a problem for colonial rulers. In their drive to harvest neat, ideologically reliable knowledge about the minds of colonial subjects, officials and researchers in the 20th-century British Empire read case histories in selective ways, pared them down to simplistic fables, and ultimately bypassed them whenever they could. In other words, although they worked mightily to bend the case history to their purposes, they never fully succeeded. The authority granted to personal testimony and the capaciousness of the detail in case histories always contained a subversive potential. As a result, the politics of the colonial case history were underdetermined, overflowing the categories and resisting the generalizations that colonial rulers sought to impose.
David Beer
Andrej Jazbec
V prispevku sta predstavljeni analiza in interpretacija posnetkov lidar površja slovenskega Krasa. Ugotovljeni so bile različne oblike in vzorci parcelacij, domnevno iz obdobja prazgodovine in antike. Ti so bili razvrščeni v skupine glede na obliko parcel in načina delitve zemlje. Narejen je bil poskus predstavitve njihovega sosledja ter s tem rekonstrukcija nastanka in razvoja kulturne krajine.
Steve Fuller
I reconstruct my own journey into the history of the human sciences, which I show to have been a process of discovering the metaphysical standing of the human. I begin with Alexandre Koyré’s encounter with Edmund Husserl in the 1930s, which I use to throw light on the legacy of Kant’s ‘anthropological’ understanding of the human, which dominated and limited 19th-century science. As I show, those who broke from Kant’s strictures and set the stage for the 20th-century revolutions in science - from Hegel, to John McTaggart, to Max Weber - typically were pursuing crypto-theological questions about how a finite being can comprehend an infinite universe. This journey is about the ‘common measure’ of being human, which is what links Plato to Kuhn, but has been most consistently taken up by law. I suggest that in seeking this ‘measure of man’, we may discover that to be human is not necessarily to be Homo sapiens, which would suggest a radical reorientation of the history of the human sciences.
Vladimir V. Napolskikh
The comparative analysis of folk-names lists from the Jordanes’ Getica 116 (“Hermanaric’s arctoi gentes” in author’s reconstruction, information comes from the middle 4th century AD) and early Russian chronicles points towards the independent character of both sources showcasing dynamic changes in the ethnic and linguistic map of Eastern Europe between the 4th and the 10–11th centuries. The fi rst three names of the Hermanaric’s list are addressed further. In Aunxis Vas must have been the predecessors of Vepsians, who lived on the south-eastern Ladoga lake shores and probably spoke a southern Lappish dialect. In Abroncas Merens are considered to have been the northernmost Merya groups along the northern bend of Volga (on the territories nowadays covered by the Rybinsk sea waters). Mordens in Miscaris are rather unlikely the direct ancestors of Mordvinians (Moksha and Erzya), but an Iranian-speaking group of Trans-Uralian origin, which had brought the Iranian name *mordi ‘murderers’ to the middle Volga in the 2nd–3rd сenturies AD. In the 4th century they lingered on as Iranian speaking or, although already assimilated by the local population, still kept their name. The land Miscar- must be identified with the Russian Meshchera, which was not what is known today as the Meshchera depression on the left bank of the Oka river, but the region between the lower Oka and the lower Sura rivers. Several problems of substrate toponymy of the upper and middle Volga region, including possible etymologies of the studied names, are also discussed.
Rubén Torres Martínez
K. Johns
Yu Zhao
The rapid progress of our country science and technology speeds up the development process of our country's industrialization. More recently, mechanization level of coal mining in our country is higher and higher; however, due to the short history of coal mining mechanization development in our country, there are still a lot of problems. This paper first introduces the technology application of finite element method, the CAD technology, green design and optimization design in coal mine machinery, , secondly introduces the current status where intellectualization of coal mine machinery is low, with serious pollution and large volume, finally, introduces the development of the supervisor technology to coal mine machinery operating mode , the development of integration technology of machine battery solution , and the trend of development of intellectualization, automatization, modernization and localization of manufactures. The mechanization development of coal mine The unceasing progress of society and the booming development of economy accelerate the era in which machinery substitutes the handicraft industry, and coal mine of our country has made notable result after previous decades of development, but there appear still more or less inevitable problems to be badly needed. The restriction of the existing technology leads to the bulkiness of most of the coal mining equipments, which are modeled uniformly according to most terrain and geological conditions, therefore incapable to manipulate smoothly. The excessive bulkiness of the coal mining equipment depressed greatly the work efficiency of coal mining, thus degreased the productivity of coal mining enterprises. At present, our country has stepped up the efforts to speed up the development of coal mining machinery, which has gradually developed from former single function to the comprehensive functions; therefore work efficiency of the coal mine is greatly improved, in addition, save human resources to a certain degree. Our country has gradually made progress of coal mine equipment mechanization, so as to promote the further development of the coal mining enterprises. The technical application of coal mine machinery The application of finite element method (fem) Finite element method (fem) is a highly efficient and commonly used calculation method, which can discretize the continuous solution domain and then generate an aggregate of a set of units, where, the unknown field function to be obtained in the solution domain is represented by lamination of approximate function assumed in the unit , and the approximate function is represented by unknown field function and difference functions of derivative in each node within the unit , thereby it transforms the continuous problem of infinite degrees of freedom to discrete finite degrees of freedom. Finite element method can not only be appropriate for some dynamic analysis and static problem, but also can solve the static problems and unsteady state encountered in the project. The ANSYS and i-deas used widely all belong to mature large finite element software. And the stress of the coal mine machinery is more complex, which is just in line with the applicable conditions of the finite element method, therefore, in the design of coal mine, the crossbeam in its supporting tank device, in order to determine its conditions for acceptance, and analyze visually its weak link . 3rd International Conference on Science and Social Research (ICSSR 2014) © 2014. The authors Published by Atlantis Press 1330 The application of CAD technology CAD is a computer aided technology, and can use the computer hardware system to design and provide assistance, such as engineering analysis, drawing and document production and design, and so on. At present, the product coal mine machinery products have tended to be mature, and the wide use of CAD technology in coal mine machinery, can realize the modular design of mechanical products and the integration design of CAD technology , CAPP and CAM design, so the product model existed in the computer can enter directly CAPP, through the complete technological design , layout and NC programming , the processing code generated from it can be transmitted into the NC machine tool , machining center , and the whole form processing , the use of CAD technology in coal mine machinery link the two segments more closely, shortening the production cycle of the products whole form processing and computer products to a certain extent , thereby improving the production efficiency of products, which testifies that the use of CAD technology in coal mine machinery can notably enhance the auxiliary benefit of the computer. The application of the green design technology The application of the green design technology is an important way of promoting the sustainable development of coal mine machinery, it focuses on environment protection, thoroughly implement and realize the green concept throughout the product planning and design, connect the base attribute of the products and environment attribute closely throughout the entire production cycle, and meet the environmental goals of the product based on the meeting the physical objective, thereby reach the optimization design of the product .. During the green design of coal mine machinery, we should ensure that the products are environmentally friendly, minimize their pollution and damage of the environment. During the product design, simplify the product structure as much as possible; decrease the wasting of resources, and pay attention to the recycling of the materials, thereby saving resources, minimizing the energy consumption in the coal mine machinery design. The application of the optimization design technology Optimization design refers to that converting the problems encountered in engineering design of mathematical model based on the codes and standards established by state, and based on general design idea and design method , and then find the optimal design proposal in the diversified programs established using the computer network technique and optimizing the design technique Optimization design can not only improve production quality, improve the level of the product design, but also can promote the role of computer aided design. The use of optimization design in the coal mine machinery design similarly enhance the planning level of products and production quality, and use the optimization design as early as possible in the design period, because the early use of the optimization design can embody the advantage that the optimization design bring the product design and design quality.. The present situation of our coal mine machinery Equipment intellectualization is low Although our country has preliminarily realized the mechanization of coal mine machinery, but its mechanization level is still far behind, and still belongs to the development mode of extension type. Today’s society combines the digitization and intellectualization, always sticking to the science and technology as primary productive forces. The international science and technology competition currently lead to the higher requirement to the digitization, modernization and intellectualization. Mechanical equipment and produced quantity of the coal mine in our country proved to be the first based on the data, however, the digitization and intellectualization of our coal mine machinery fall far behind the world, restricting the modernization development of the coal mine, and mechanism control and mechanical power still dominate most coal mine mechanical equipment, therefore lead to the low intellectualization, impacting the productivity of our coal mine.
Xu Hongming
Shadow play is an artistic expression with a long history in China and its origin and development have experienced a long time. Ankang Shadow Play is also called “Taiping play”, “galanty show” and “shadow puppet” and its performance and size reduce with the decrease of performance needs. In addition to the above-mentioned basic structure and form, the composition and performance method of Ankang shadow play groups have different features and representatives in different counties. With Hanchu opera as the singing form, the unique performance technique of Hanyin Shadow Play is an independent school in China’s shadow play troupes, which is typical and representative. There are many shadow play clubs in North District of Xunyang County, with frequent activities, represented by Fengshu Club and Xigouhe Club, who are famous in the local place and attach great importance to the plot expression and characterization as well as the combination of drama content and performance form. It is hoped that the emphasis on culture and art can completely preserve and save the shadow play and its related artistic form and language in the future development even if its original position cannot be regained. Shadow play is an artistic expression with a long history in China and its origin and development have experienced a long time. At the same time, in the history, the shadow play art has formed its unique features in terms of craftsmanship, performance technique, recording mode and inheritance concept. The shadow play is a comprehensive art and has formed a set of unique artistic language and dissemination system from the production of props and background instruction and preparation of performance stage and site to the use of hand skills and special shadow props and to the design of aria, characters’ lines and dialogue. Meanwhile, the different regional development leads to different artistic features. The shadow play art has different features in different regions. Shaanxi is an important province for the development of shadow play and northern Shaanxi, central Shaanxi plain and southern Shaanxi have shadow play groups and repertories with different characteristics. As an important central city of southern Shaanxi, Ankang’s shadow play art has a long history and is popular in Hanbin District, Xunyang, Pingli, Ziyang, Hanyin, Shiquan and other county. There are more than 1200 traditional repertories, including a large number of historical stores and folk stories. Ankang Shadow Play is also called “Taiping play”, “galanty show” and “shadow puppet” and its performance and size reduce with the decrease of performance needs. The performance time is divided into fixed type and temporary type. For the fixed one, the local government or government units, with county, town and village as the unit, invites the nearby shadow play troupe to perform at the public place of town and village at festivals and at New Year. For example, Wuli Town invites local “Xinxing Troupe” or shadow play troupe of Hanyin troupe to perform at Qinglong Temple behind the village at the Spring Dragon Festival, the Double Ninth Festival, lunar January, Guanyu Festival and other festivals. With a long time and large size, such performance often lasts for 2-3 days and at the same time there are other forms of traditional performance. For the temporary one, individuals with family and village as the unit invites the theatrical troupe to perform at home for wedding and funeral. The shadow play actors are similar to farmers at ordinary times and gathered by the leader or Lanmen in case of any performance, with simple and convenient performance forms and the props and tools of shadow play are often put in 1 or 2 wooden cases, with convenient carrying and transportation, so the local people also called the shadow play as “a shoulder pole play”. The performance place varies with the situation of village or performance site, either large or small. However, the large site is only suitable for performance after dusk and the small central room and 2014 International Conference on Economic Management and Social Science (EMSS 2014) © 2014. The authors Published by Atlantis Press 94 hall are suitable for performance at daytime after turning off the lights and closing the windows. At present, with Ankang as the center, the one district and nine counties have many shadow play groups, mainly called “XX troupe”. There are 6-10 actors in the shadow play, among which there is only one actor that operates the shadow play figures, called “Lanmen”. This actor is the core and also the main actor of the troupe and responsible for the performance, aria, dialogue and lines of shadow play in the performance, so also called “Xianshou”. In the process of performance, there is few opportunity that he needs the help of “Lanmen disciple”. Other actors are mainly responsible for the operation of different musical instruments and collective harmony. Taking “Xinxing Troupe” of Jianmin Town as an example, its actors and their works are as follows: 1. Lanmen Yang Senlian, main actor, responsible for all shadow play and aria, also called “Xianshou” 2. Pixian Tang Zhanggen, main member of instrument performance 3. Banhu Chen Guangzhong, main member of instrument performance 4. Drum Li Chengrong, main member of instrument performance 5. Small gong Zhou Xingbao, main member of instrument performance 6. Flute Zhou Xingbao, main member of instrument performance 7. Lanmen disciple Liu Huazhong At the same time, 2-3 reserve actors may conduct auxiliary operation according to the needs of repertory. During performance, the disciple of “Lanmen”, called “Lanmen disciple”, will also give a performance and at the same time, the disciple has to learn and practice the performance skills of his master, records the play content and learn the basic performance knowledge. In addition to the above-mentioned basic structure and form, the composition and performance method of Ankang shadow play groups have different features and representatives in different counties. They will be introduced briefly as follows. Shaannan shadow play is popular mainly in Hanyin County. With Hanchu opera as the singing form, the unique performance technique of Hanyin Shadow Play is an independent school in China’s shadow play troupes, which is typical and representative. After about 100 years’ historical changes, Hanyin Shadow Play skills have formed its unique charm in the fusion of immigration culture and north-south culture. Hanyin Shadow Play has been listed in the directory of Shaanxi Provincial non-material cultural heritage. The representative of Hanyin Shadow Play is Li Xingru, who is outstanding by virtue of its unique performance techniques and becomes a miracle in Ankang Shadow Play. In 2007, he was interviewed by CCTV7 and a feature news named Last Leader, lasting for more than 10 minutes, was recorded. In 2008, he was interviewed by China Folklore Network and a feature film named Exploring Folk Stunts, lasting for 20 minutes, was produced and broadcast on China Folklore Network. Li Xingru has standard performance form and forms a unique technique in many years’ performance, such as rapid change of character face. For aria, Li Xingru has all-around singing technique and forms a unique singing form combined with Ankang traditional drama, Handiao-Er-Huang. There are many shadow play clubs in North District of Xunyang County, with frequent activities, represented by Fengshu Club and Xigouhe Club, who are famous in the local place and attach great importance to the plot expression and characterization as well as the combination of drama content and performance form. With Shaannan Daoqing as the main singing tune, Xunyang Shadow Play also has Ankang traditional “Handiao-Er-Huang”. For Xunyang Shadow Play, the Daoqing tune is mainly banqiang style and the lyrics mainly have seven or ten words. As needed, some folk ditties and the names of the tunes of other types of drama are adopted sometimes. The characteristic tune in Daoqing is “Huangma”, for which when the Lanmen or main singer sings a piece of lyrics, other musical instruments or prop players sing a chant together, corresponding to the former lyrics and creating a busy atmosphere. In Xunyang Shadow Play, there is a tune called “Babujing”, which is popular in Fengshuping, junction of Xunyang and Zhen’an. The rhythm of “Babujing” is similar to talking and singing of percussion music. In addition to the shadow play clubs in each county of Ankang, there are some clubs in the
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