Draws together information from diverse sources to illuminate an important chapter in the history of American science
Sorensen asks how it came about that, within the span of forty years, the American entomological community developed from a few gentlemen naturalists with primary links to Europe to a thriving scientific community exercising world leadership in entomological science. He investigates the relationship between American and European entomology, the background of American entomologists, the implications of entomological theory, and the specific links between 19th-century American society and the rapid institutional growth and advances in theoretical and applied entomology.
By the 1880s the entomologists constituted the largest single group of American zoologists and the largest group of ecologists in the world. While rooted in the British natural history tradition, these individuals developed a distinctive American style of entomological investigation. Inspired by the concept of the balance of nature, they excelled in field investigations of North American insects with special emphasis on insect pests that threatened crop production in a market-oriented agriculture. During this period, entomologists described over ten times as many North American insect species as had been previously named, and they consolidated their findings in definitive collections. Employing evolutionary theory, they contributed to the growing understanding of insect migration, mimicry, seasonal dimorphism, and the symbiotic relationship of plant and animal species. Americans also led in the revision of insect taxonomy according to the new principles. Their employment of entomological findings in the practical control of agricultural pests set new standards worldwide. Initially ridiculed as eccentric bug hunters, American entomologists eventually achieved stature as agricultural advisers and as investigators into the origin and nature of life.
Based primarily on the correspondence of American entomologists, Brethren of the Net draws together information from diverse sources to illuminate an important chapter in the history of American science.
Between 1840 and 1880, the Eastern Mediterranean port of Izmir (Smyrna) underwent unprecedented change. A modern harbor that welcomed international steamships and new railway lines that transported a cornucopia of products transformed the physical city. Migrants, seasonal workers, and transient sailors thronged into an already diverse metropolis, helping to double the population to 200,000. Simultaneously, Ottoman officials and enterprising citizens vied to control and reform the city’s administrative and legal institutions.
Ottoman Izmir examines how urban space, institutional structures, and everyday practices shaped one another in the thriving seaport of Izmir during a volatile period of growth. Sibel Zandi-Sayek investigates a variety of urban actors—Muslims and non-Muslims, Ottomans and Europeans, newcomers and native residents, merchants, investors, civil servants, and press reporters—who were actively engaged in restructuring the city. Concentrating on the workings of urban committees and on laws and policies that were written, rewritten, but never fully implemented, Zandi-Sayek exposes how modern interventions sought to impose clear-cut concepts of public and private, safety and danger, and hygiene on a city that previously had a wide range of customary regulations.
Ottoman Izmir shows how Izmir’s various stakeholders contested its built environment. In so doing, it offers a new view of the dynamics of urban modernization.
This innovative work begins to fill a large gap in theatre studies: the lack of any comprehensive study of nineteenth-century British theatre audiences. In an attempt to bring some order to the enormous amount of available primary material, Jim Davis and Victor Emeljanow focus on London from 1840, immediately prior to the deregulation of that city's theatres, to 1880, when the Metropolitan Board of Works assumed responsibility for their licensing. In a further attempt to manage their material, they concentrate chapter by chapter on seven representative theatres from four areas: the Surrey Theatre and the Royal Victoria to the south, the Whitechapel Pavilion and the Britannia Theatre to the east, Sadler's Wells and the Queen's (later the Prince of Wales's) to the north, and Drury Lane to the west.
Davis and Emeljanow thoroughly examine the composition of these theatres' audiences, their behavior, and their attendance patterns by looking at topography, social demography, police reports, playbills, autobiographies and diaries, newspaper accounts, economic and social factors as seen in census returns, maps and transportation data, and the managerial policies of each theatre.
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