Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic arts, photography, architecture, and decorative arts across the globe.
Bipolar disorder (BD) and exposure to childhood maltreatment (CM), which is present at high rates in BD, are both associated with hippocampus and prefrontal cortex structural alterations thought to contribute to clinical features. Gender-related differences are implicated in BD for CM exposure, brain structure and clinical features. However, relationships among these factors in BD are understudied. This study aimed to investigate associations among gender, CM, hippocampus and prefrontal gray matter structure and clinical features in BD. Childhood trauma questionnaire, structured clinical assessments and 3 Tesla structural magnetic resonance imaging were obtained for 236 adults (18-63 years, 32.0 ± 12.6): 119 with BD (58.8% women) and 117 healthy controls (HCs, 50.4% women). Women with BD reported higher CM severity than men with BD and HCs (B=-14.34, 95% confidence intervals (CI)[-22.71,-5.97], p<.001). CM and gender showed a significant interaction for left hippocampus (B=-7.41, 95% CI[-14.10,-0.71], p<.05); CM severity was negatively associated with left hippocampus only in women with BD. In women with BD, CM was associated with post-traumatic stress disorder comorbidity (B = 25.68, 95% CI[15.11,36.25], p<.001). In men with BD, CM severity was associated with lower left frontal pole (B=-0.71, 95% CI[-1.14,-0.28], p<.05) and right superior frontal (B=-17.78, 95% CI[-30.66,-4.90], p<.05) surface area; the latter related to earlier age of first mood symptoms (B = 33.97, 95% CI[7.61, 60.33], p<.05). Findings support gender-related effects of CM on frontotemporal structure and clinical features of BD. The findings bring novel perspectives for gendered pathophysiological models of effects of CM in BD.
The Chincha Islands War (1864–1866) pitted the decimated empire against Peru, Chile, and Ecuador. Demanding compensation in exchange for independence, Peru and Chile were expected to pay for their sovereignty from profits reaped from shipping and selling "white gold," or nutrient-rich bird excrement culled from the Chinchas. Spain had instigated the war following demands that a heavily indebted and precariously financially positioned Peru pay for its sovereignty. Multi-racial recruits, while still enslaved, had served on the frontlines in the South American wars for independence. In 1854 Peru purchased the freedom of an estimated 25,000 black slaves using income from guano sales. Racist policies and attitudes persisted. In Peru, the Lima elites, or what has been called a "guano-based plutocracy" of "merchants, lawyers, coastal planters, and bankers," continued to exploit and brutalize laborers. "Flesh color" has thus always connoted race; it has always privileged whiteness.
Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic arts, photography, architecture, and decorative arts across the globe.
Shown at a precarious tilt, the Eiffel Tower, in a black and white photograph on the cover of Hollis Clayson and André Dombrowski’s anthology Is Paris Still the Capital of the Nineteenth Century?, seems poised to dramatically topple. But, before it can come crashing down, one realises that this photograph is not of the Eiffel Tower; or, at least, not the tower located at the end of the Champ des Mars but a simulacrum of it in a faraway flowering field outside Slobozia, Romania. The tower’s worldwide materialisation—in Slobozia, Tianducheng, Las Vegas, Orlando, and as the many shiny metallic statuettes today sold as souvenirs in the Jardin des Tuileries—must be seen as critical to Clayson and Dombrowski’s anthology. The tower they and their contributors rush to support is not the Parisian monument per se but the circulation of Paris as an image, an idea, and, ultimately, a phantasm in histories of nineteenth-century art.
Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic arts, photography, architecture, and decorative arts across the globe.
Published in 1895, Léonce Bénédite’s Le Musée du Luxembourg interceded in debates around Caillebotte Bequest, by elevating Impressionism as a style critical to the French state’s official history of nineteenth-century art. As the first fully illustrated catalogue dedicated to this institution, Le Musée du Luxembourg not only described the museum’s extant collection but, in effect, prescribed a future history of art to be narrated on its walls. Yet, the Caillebotte Bequest and its Impressionist paintings and works on paper were only installed at the museum in 1897. This article interrogates how Le Musée du Luxembourg preemptively ushered Impressionism into official art history, studying the intersections between Bénédite’s enthusiasm for this art and the French state’s calls for fine-arts policies predicated on such republican principles as impartiality and eclecticism.
Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic arts, photography, architecture, and decorative arts across the globe.
