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Copyright of Revista de Indias is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper inquires the ways in which paper folding constitutes a mathematical practice and may prompt a mathematical culture. To do this, we first present and investigate the common mathematical activities shared by this culture, i.e. we present mathematical paper folding as a material reasoning practice. We show that the patterns of mathematical activity observed in mathematical paper folding are, at least since the end of the nineteenth century, sufficiently stable to be considered as a practice. Moreover, we will argue that this practice is material. The permitted inferential actions when reasoning by folding are controlled by the physical realities of paper-like material, whilst claims to generality of some reasoning operations are supported by arguments from other mathematical idioms. The controlling structure provided by this material side of the practice is tight enough to allow for non-textual shared standards of argument and wide enough to provide sufficiently many problems for a practice to form. The upshot is that mathematical paper folding is a non-propositional and non-diagrammatic reasoning practice that adds to our understanding of the multi-faceted nature of the epistemic force of mathematical proof. We then draw on what we have learned from our contemplations about paper folding to highlight some lessons about what a study of mathematical cultures entails. [ABSTRACT FROM AUTHOR]

The knowledge of the detailed material composition of paper can help art historians, archivist, librarians, paper historians, and conservators to determine the possible age of a document or a work of art. The dating of paper by the identification of specific paper components is especially applicable to paper from the 19th century. In this era, many changes in the paper production technology occurred and new raw materials were introduced in relatively short time intervals. ATR-IR and Raman spectroscopic measurements were used to analyze the chemical composition and structure of papers from the 19th century. The infrared spectra showed the general material composition of the papers. More specific information on the different paper components and their distribution in the paper were obtained by Raman microscopic measurements. The resulting Raman images visualize the detailed chemical structure of the papers including all components such as paper fibers, filler pigments, sizing agents, and color pigments. Special emphasis was made on the spectroscopic identification of different paper fiber types, like straw, esparto, and sulphite and sulfate chemical wood pulp, which were introduced to paper production during the second half of the 19th century. It could be shown that the specific spectral differences in the Raman spectra of the different paper fiber types are related to different amounts of hemicellulose xylan compounds on or in the cellulose fibers. Graphical Abstract [ABSTRACT FROM AUTHOR]

Paper and parchment were used for the production and repair of musical instruments from the 16th century onwards. Today, several layers of reused materials such as binder's waste can be found in instruments. This makes them carriers of materials of bibliographical and fragmentological interest. Based on the analyses of 96 lute instruments the reinforcing material is described and put into context with current approaches of the study of fragments and the material history of the objects. The use of vellum and reuse of parchment manuscripts was mainly common during the 16th century and for instruments made of materials of high density. Paper in the form of blank folios, reused prints, manuscripts, music staves and notes, or drawings can be found as material for the production and repair of lutes in all periods. The content or the exact edition of the reused prints or manuscripts could be identified in several cases. [ABSTRACT FROM AUTHOR]

Industrial progress in papermaking in the early nineteenth century led to the technologies that resulted in more acidic papers, which was caused mainly by the exploitation of alum (KAl(SO4)2) and rosin as sizing agents. The papers prepared by such technologies have degraded more quickly. From the 1930s various deacidification and preservation processes with basic agents have been developed. The most widespread deacidification process is with the aerosol (spray system) consisting of microscale particles MgO and perfluoroheptane (PFH) as a carrier (the so-called Bookkeeper process). The shortcomings of this process are the low dissolution of solid MgO particles and the transport to the interior of acidic paper. We have developed a theoretical two-level model of the Bookkeeper process suitable for prediction of deacidification extent. The model involves both the dissolution/reaction of the solid particles and transport of solvated ions and solid particles inside the bulk of paper. The developed model coincides with the results of the performed deacidification experiment. The model is also in good agreement with the Lucas–Washburn equation, which is usually used for the description of the penetration of a deacidifying agent into the paper. [ABSTRACT FROM AUTHOR]

Because nineteenth-century paper was made from rags, the materiality of paper money became a likely ground from which to debate the nature of value in modern capitalism. On one hand, if paper money was backed by nothing but itself, then it was worth little more than itself: a gathering of lowly rags. On the other hand, the process of turning trashed rags into valuable paper modeled how capital could seem to grow out of nothing. Two nineteenth-century literary narratives provide examples of how rags performed considerable social and metaphorical work in the construction of an epistemology of capitalism and its "paper technologies." [ABSTRACT FROM AUTHOR]

The National Library of Poland holds three historical collections with a unified visual form. The arrangement of the Wilanów collection was carried out in the first half of the nineteenth century, whereas the Krasiński collection was arranged in the early twentieth century respectively the 1950's or 1960's in the case of drawings by Norwid. This contribution describes the structure of mountings found in these collections, as well as the historical context in which they were created. It serves as a starting point to provide an outline of the history of conservation methods and preservation of prints' and drawings' collections in Poland. [ABSTRACT FROM AUTHOR]

I Visions of Nature i focuses on landscape photography produced in settler colonies of the Pacific Rim and employs an interdisciplinary approach, drawing on methodologies and theories from environmental history, geography, and art history. Both artists have appropriated imagery made by settler artists of their respective homelands to interrogate how settler visual culture took "land away from people". Visions of Nature: How Landscape Photography Shaped Settler Colonialism AND Colonization, Wilderness and Spaces Between: Nineteenth Century Landscape Painting in Australia and the United States: By Jarrod Hore. [Extracted from the article]

The article discusses the significance of the Confederate States of America Medical Department and the periodical the "Confederate States Medical and Surgical Journal" in advancing Confederate nationalism and identity during the U.S. Civil War, particularly concerning what is referred to as a Confederate intellectual independence.

Personal papers in the archives at Maritime College, State University of New York, document the lives of alumni from the school's founding in 1874 through the early decades of the 20th century. Journals, diaries, memoirs, and reminiscences located in these collections provide evidence of what it was like to work on a ship, far from home, travelling to foreign lands. In this article, I explore first-hand accounts of maritime life by Van Horne Morris, my maternal grandfather and a 1938 graduate of the Massachusetts Nautical School (now known as Massachusetts Maritime Academy), and several alumni of the New York Nautical School (now known as SUNY Maritime College), who graduated between 1896 and 1929. Close reading of their letters and manuscripts reveals echoes of a maritime literary tradition rooted in the antebellum-era United States. Comparing and contrasting the style and content of their writing to antecedents in the 19th century also illuminates continuity and changes in maritime labour and culture over time. [ABSTRACT FROM AUTHOR]

The consequences of the partially coerced opening of Japan to the Western world in the second half of the 19th century went far beyond economic and political goals and considerations. The previously secluded land almost instantly became a source of artistic inspiration and endless fascination. Japonisme, the term by which the latest craze become known in France, was no passing fad. For many decades, Western artists, most of whom had never set foot in Japan, derived profound inspiration from all facets of the mysterious culture which unfolded in the period. Thus, with scant information and a lack of accurate records being available, common gossip and unfounded rumor filled in the blanks of official reports and naval tales, connecting the dots between the real and the imagined. In this paper, I succinctly examine the story of Madame Butterfly, cutting across time, genre and borders in the works of John Luther Long, David Belasco, Giacomo Puccini and Claude-Michel Schönberg/Alain Boublil. I contextualize the selected narratives within their socio-political frameworks, but also consider the ramifications of the past and presentday adaptations from the 21st-century perspective, in the light of current struggles for (adequate) representation. Lastly, I examine the production of Miss Saigon (2019-22) at the Music Theatre of Łódź, Poland to compare how the staging of such a musical in a predominantly racially homogenous country affects the perception of Orientalist works. As such this section is a case study based on personal interviews conducted by the author with the producers and cast members. [ABSTRACT FROM AUTHOR]

This paper investigates the role of admission forms in the regulation of asylum confinement in the second half of the nineteenth century. Taking the Toronto Lunatic Asylum as a case study it traces the evolution of the forms' content and structure during the first decades of this institution. Admission forms provide important material for understanding the medico-legal assessment of lunacy in a certain jurisdiction. First, they show how the description of insanity depended on a plurality of actors. Second, doctors were not necessarily required to indicate symptoms of derangement. Third, patients' relatives played a fundamental role in providing clinical information. From an historiographical perspective, this paper invites scholars to consider the function of standardized documents in shaping the written identity of patients. [ABSTRACT FROM AUTHOR]

Does the materiality of a three-dimensional model have an effect on how this model operates in an exploratory way, how it prompts discovery of new mathematical results? Material mathematical models were produced and used during the second half of the nineteenth century, visualizing mathematical objects, such as curves and surfaces—and these were produced from a variety of materials: paper, cardboard, plaster, strings, wood. However, the question, whether their materiality influenced the status of these models—considered as exploratory, technical, or representational—was hardly touched upon. This article aims to approach this question by investigating two case studies: Beltrami's paper models vs. Dyck's plaster ones of the hyperbolic plane; and Chisini's string models of braids vs. Artin's and Moishezon's algebraization of these braids. These two case studies indicate that materiality might have a decisive role in how the model was taken into account mathematically: either as an exploratory or rather as a technical or pedagogical object. [ABSTRACT FROM AUTHOR]

The nineteenth century witnessed the creation of a 'paper Panopticon' designed to capture information about offenders in England, especially those who were transported to Australia. This article considers the effectiveness of this new record-keeping system and asks whether convicts had some agency within it. These questions are explored through a macroscopic analysis of the recording of convict ages in nineteenth-century England and Australia, made possible by the Digital Panopticon project. By using the methodological opportunities opened up by digital technologies, we can test the accuracy of historical records in new ways, and in the process develop a better understanding of the encounter between state authority and convict agency. [ABSTRACT FROM AUTHOR]

My article examines the structure of the nineteenth-century British paper peepshow and the experience of using it. Inspired by the agenda of media archaeology, I argue that an analysis of this medium that goes beyond excavating details of an obscured optical recreation can bring new insight into our understanding of peep media and nineteenth-century visual culture. By discussing the origin and circulation of the paper peepshow and detailing the clear distinction between it and media like the peepshow box and pop-up books, I detach the paper peepshow from the genealogy of these media while stressing the significance of its intermedial relationship with other nineteenth-century visual entertainments. I then adopt the notion of embodied knowledge to explore users' engagement with this medium, drawing from personal handling experience in archives as well as theoretical conceptualisations. My article argues that peering into the paper peepshow should be understood as an act of creativity and imagination, and that the tactile played a crucial role in users' interaction with this medium. This study thus fits well in debates about the embodied or multi-sensory vision in the nineteenth-century context, and functions as another example that affirms the active agency of users of visual recreations of this period. Overall, by analysing significant features of the paper peepshow and the experience of peeping into it, my research also constitutes a small but important expansion in the current understanding of peep media. [ABSTRACT FROM AUTHOR]

Copyright of Education et Societes is the property of INRP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During Texas's decade as a republic, its newspapers never galvanized into a truly partisan press. The newspapers of Texas were political, but rather than focusing on party principles, they opposed or supported political candidates during the republic's four presidential elections, with two-term President Sam Houston as the pivotal figure. The independence of most newspapers from party patronage and influence and their patriotic elevation of the good of the country over loyalty to any faction demonstrated that editors did not fully adopt the American style of press partisanship they experienced before moving to Texas. Elections in the republic revolved around personalities instead of policies. [ABSTRACT FROM AUTHOR]

The article focuses on papers on applications for military medical personnel in Civil War medicine by Illinois Governor Richard Yates. Topics include enlistment of Richmond Wol­cott and appointment of Dr. Edward D. Kittoe of Galena, Illinois, military regiments with surgeons, and Illinois' state Board of Medical Examiners.

"Asbestos in Australia: From Boom to Dust" is a comprehensive and highly readable edited volume that explores the intersection of environment, industry, and public health in Australian life. The book synthesizes diverse literatures on asbestos in Australia, providing an overview of its business, economic, and social history from its rise as a "miracle mineral" in the late nineteenth century to its decline in the face of mounting medical evidence and public outcry. The collection includes historical, legal, and medical perspectives, as well as oral histories from communities affected by asbestos mining. It serves as a valuable reference work and highlights the ongoing challenges posed by industrial pollutants in Australia. [Extracted from the article]

In Vienna around 1900 the paleographer Theodor von Sickel was searching for a botanist to microchemically analyze samples of medieval paper manuscripts. If the material components (the plant fibers and sizing) of the manuscript paper could be determined, then Sickel would acquire crucial information on the origin, dating, and production methods of the manuscripts. Fortunately for him, he met the Viennese botanist Julius von Wiesner, who was also a pioneer in microscopy, and thus began a remarkable collaboration. I have examined the material objects used in their collaboration—the manuscript samples as well as the objects they were stored in—and have, as a result, been able to identify the collaborators' practices of knowledge organization and knowledge production. I can thus make the following two interrelated claims: first, that the interdisciplinary collaboration between the sciences and the humanities, represented in this case study by botany and paleography, led to the production of new knowledge, namely, a paleographic dating principle for medieval manuscripts; second, that this new knowledge came about precisely because the practices of knowledge organization and hence of knowledge production, which I have identified as being the practices of paper technology , were shared by the collaborators. The case study examined in this article suggests that, thanks to these shared practices, the divide between the humanities and the sciences at the end of the nineteenth century was not as great as is generally believed. [ABSTRACT FROM AUTHOR]

Explores, in a reprint of the 1989 Junior Division National History Day winning paper, the history of some technological developments in Pennsylvania's coal mining industry. Examines the "breaker boys," youths who sorted coal in severe working conditions. Introduces Ellen Webster Palmer, who addressed the problem by organizing the Boys' Industrial Association (BIA). (CH)

A literary criticism is presented of the English novel "Bleak House," by Charles Dickens. Particular focus is given to the characters of the book's scavenging through rubbish, including in search for waste paper. An overview of the book's representation of the England's economic and social conditions in the 19th century, including of the slums of London, England, is provided.

Early in the nineteenth century the London publishers and printsellers, S. and J. Fuller, packaged paper dolls and storybooks together in their Temple of Fancy paper doll books. This article examines the tension between the narratives of these works-typically moral tales for children in which a love of clothing is punished-and the accompanying paper dolls, which celebrate costume and dressing up. The textual morals against love of clothing are gendered in problematic ways, with female characters mortified for this flaw more readily than male characters. However, the variety of potential reading experiences offered by the form of the paper doll book, in which picture and word are separate, is viewed as a challenge to the gendered moral content of the stories. Ultimately this article argues that the form of the paper doll book sheds new light on D. F. McKenzie's (1986) ideas about how readers make meaning from texts. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The earliest years of photography were full of experimentation and innovation; many photographers from this era carefully documented their experimental procedures. Consequently, it is possible to reproduce historically accurate photographs and negatives today. One of the oldest forms of photographic technology is the waxed paper negative, popular during the mid-19th century. It consists of a photosensitive sheet of writing paper coated with a layer of wax to render it transparent. Modern waxed paper negatives made using 19th century paper can potentially pass for historically significant 19th century negatives. This poses problems to museums and others interested in studying or collecting authentic 19th century photographic images. We have developed methods for separating the organic components of waxed paper negatives and measuring their radiocarbon content as a means of distinguishing between modern and historic waxed paper negatives. By detecting the presence or lack of bomb carbon in a given negative, this process can act as a tool for authentication. We have mainly focused on the extraction and 14C measurement of the wax component, reasoning that modern photographers might have easy access to 19th century paper, but would less likely use 19th century beeswax. [ABSTRACT FROM AUTHOR]

This essay examines Julia Griffiths' contributions to Frederick Douglass' Paper, arguing that Griffiths had a stronger sense than Douglass of the newspaper as an instrument of sociability, and that letters were crucial to its production. The paper's multiple and overlapping forms of circulation blended print, manuscript and private communication. Griffiths' own column took the form of a letter, borrowing the warmth and familiarity of personal correspondence. Part of the mid-century flowering of British and American women's periodical writing, it adopted the developing conventions of the travelling correspondent, and demonstrates some of the wider cultural aspirations of Douglass's anti-slavery newspaper. [ABSTRACT FROM AUTHOR]

The article discusses the watercolor paintings of German painter Hermann Rudolf Wendroth and travel narratives written by travelers on visits to the Rio Grande do Sul region of Brazil during the 19th century. Topics discussed include the history of travelers and travel narratives in the region beginning in the 17th century, collected women's travel narratives relating to the city of Rio de Janeiro, Brazil, in the 19th century, and the literature of travel narratives as a source of information on the geography, culture, and history of the Rio Grande do Sul region in Brazil.

The article analyzes the relation between slavery and the structures and practices of law with reference to a story of a woman named Rosalie who, in the late 18th century, was deported as a slave to the French colony of Saint-Domingue (modern day Haïti). Efforts made by Rosalie in regaining her liberty are highlighted. Role of law and judicial processes in upholding and challenging the structures of caste and white supremacy that emerged after the end of slavery is discussed.