Clothes design (cut) system “M. Müller & Son" (M.Müller&Sohn). Max Müller: biography German and English philologist, specialist in general linguistics, Indology, mythology

Max Müller was born in 1823 in Dessau (Germany) in the family of the German romantic poet Wilhelm Müller (1794-1827). In 1841, M. Müller entered the University of Leipzig, where he studied classical languages, psychology and anthropology. In 1843 he received the degree of Doctor of Philosophy. In 1844 and 1845 continues his education in Berlin and Paris, where he studies philology, philosophy, Sanskrit and Eastern religions. In 1846 he moved to London, and in 1848 to Oxford, where he became a professor of modern European languages. Max Müller was an encyclopedic scholar, a specialist in the field of classical philology, ancient languages, comparative linguistics, comparative mythology, Eastern religions and cultures. All this together laid a serious foundation for Muller’s awareness of the need for a new science - the science of religion, the main method of which he considered the comparative method. His lectures on “Introduction to the Science of Religion” in 1870 were one of the starting points for the development of religious studies. They were published back in 1870, but in a circulation of only 16 copies; in 1873, the lectures were reprinted in large numbers and won pan-European recognition. This work was translated into most European languages, including Russian in 1887.

In 1875, he left teaching, concentrating entirely on publishing the series of books “Sacred Texts of the East,” which he initiated. This series was originally going to be called Sacred Texts of Humanity. In total, by the beginning of the 20th century, more than 40 volumes had been published, the preparation of which served as a powerful impetus for the development of Oriental studies, philology and religious studies in Europe. F. M. Muller died in 1900 in Oxford.

In addition to his enormous scientific diligence, M. Muller had enormous authority among the academic circles of Great Britain, which allowed him to achieve many important results and directly participate in creating the appearance of contemporary oriental studies and religious studies.

M. Muller's scientific works, as well as his popular science lectures, are very diverse. One of his first works on religious studies can be considered “Comparative Mythology” (1856). He published his notes and articles on comparative mythology and religious studies in “Shavings from the German Workshop” (1867-1875, 5 volumes). Based on the Gifford Lectures (1888-1892), the works “Natural Religion” (1889), “Physical Religion” (1891), “Anthropological Religion” (1892), “Theosophy, or Psychological Religion” (1893) were published. His famous work “Six Systems of Indian Philosophy” (1899) is dedicated to Eastern philosophy. An analysis of these works, taken together, would make it possible to better reconstruct the scientist’s contribution to classical religious studies and, in particular, to trace the evolution of his views on the science of religion.

Many of his thoughts became exemplary for religious studies, but the saying “who knows one (religion) knows none” became especially popular (here he paraphrased the paradox of J. V. Goethe: “who knows one language knows none”).

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The “System of the Future” or (M.Müller und Sohn) at the turn of the century was not the only cutting system, but one of the most successful. She received universal recognition, and Michael Müller (1852 - 1914) became an unrivaled consultant in the world of professional tailoring. At first, in his “German School of Dress,” he taught how to accurately take into account various anatomical features of the figure when taking measurements. No other system had such a precise geometric method for this, which divided the body into segments and translated the features of the figure into measurements of length and width.

The system developed by M. Muller and Son was the most important contribution to the tailor's craft, and its principles remain true and effective to this day. Trends or fashionable phenomena are subject to rapid changes. However, any style requires a flawless fit. Specializing in designing perfect fit systems "M. Muller and Son" (M. Muller und Sohn) compares favorably with others. It is based on the proportional calculation method, which takes into account various deviations of the figure from the standard. This technique is easy to learn, saves time and is very simple to use at work.

Additionally:
• List of topics in the Atelier magazine on the clothing design (cut) system “M. Muller and Son" (M.Muller&Sohn) (by numbers)

(1900-10-28 ) (76 years old)

Friedrich Maximilian Müller(German) Friedrich Max Müller; December 6 ( 18231206 ) , Dessau - October 28, Oxford) - German and English philologist, specialist in general linguistics, Indology, mythology.

Biography

Scientific activity

Since 1863, Max Müller taught the fundamental course “Lectures on the Science of Language” at Oxford University. In 1866, this work was published in A. A. Khovansky’s journal “Philological Notes”, and in 1868 the book was published in Voronezh as a separate imprint. The editor personally took part in the translation of the collection. In 1871, the lecture “Layering of Language,” given by the author at the University of Cambridge in May 1868, was published in Philological Notes.

Last years

Max Müller died in Oxford at the age of 76.

Main works

• "Comparative Mythology" (1856),
• "Layering of Language" (1868),
• "The Science of Language" (1861-1863),
• “Shavings from a German workshop” (1867-1875),
• "Introduction to the Science of Religion" (1873),
• "Natural Religion" (1889),
• "Physical Religion" (1891),
• "Anthropological Religion" (1892),
• "Theosophy, or Psychological Religion" (1897),
• "Six Systems of Indian Philosophy" (1899).

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Notes

Links

• Muller Max.. - PSYLIB. - K., 2009.
• Mueller Friedrich Max Introduction to the Science of Religion: Four Lectures Delivered at the Royal Institution of London, February-March, 1870. / Per. from English, foreword and comments by E. Elbakyan. Under the general editorship of A. N. Krasikov - M.: Book House "University": Higher School, 2002. - 264 p.
  • Muller F. M.
  • Muller F. M.- P. 4 - 119.
• Muller F. M.

Excerpt characterizing Müller, Friedrich Max

When she entered the hall, the father was quickly leaving the countess's room. His face was wrinkled and wet with tears. He apparently ran out of that room to give vent to the sobs that were crushing him. Seeing Natasha, he desperately waved his hands and burst into painful, convulsive sobs that distorted his round, soft face.
- Pe... Petya... Come, come, she... she... is calling... - And he, sobbing like a child, quickly mincing with weakened legs, walked up to the chair and fell almost on it, covering his face with his hands.
Suddenly, like an electric current ran through Natasha’s entire being. Something hit her terribly painfully in the heart. She felt terrible pain; It seemed to her that something was being torn away from her and that she was dying. But following the pain, she felt an instant release from the ban on life that lay on her. Seeing her father and hearing her mother’s terrible, rude cry from behind the door, she instantly forgot herself and her grief. She ran up to her father, but he, helplessly waving his hand, pointed to her mother’s door. Princess Marya, pale, with a trembling lower jaw, came out of the door and took Natasha by the hand, saying something to her. Natasha didn’t see or hear her. She entered the door with quick steps, stopped for a moment, as if in a struggle with herself, and ran up to her mother.
The Countess lay on an armchair, stretching out strangely awkwardly, and banging her head against the wall. Sonya and the girls held her hands.
“Natasha, Natasha!..” shouted the countess. - It’s not true, it’s not true... He’s lying... Natasha! – she screamed, pushing those around her away. - Go away, everyone, it’s not true! Killed!.. ha ha ha ha!.. not true!
Natasha knelt on the chair, bent over her mother, hugged her, lifted her with unexpected strength, turned her face towards her and pressed herself against her.
- Mama!.. darling!.. I’m here, my friend. “Mama,” she whispered to her, without stopping for a second.
She did not let her mother go, gently struggled with her, demanded a pillow, water, unbuttoned and tore her mother’s dress.
“My friend, my dear... mamma, darling,” she whispered incessantly, kissing her head, hands, face and feeling how uncontrollably her tears flowed in streams, tickling her nose and cheeks.
The Countess squeezed her daughter's hand, closed her eyes and fell silent for a moment. Suddenly she stood up with unusual speed, looked around senselessly and, seeing Natasha, began squeezing her head with all her might. Then she turned her face, wrinkled in pain, towards her and peered at it for a long time.
“Natasha, you love me,” she said in a quiet, trusting whisper. - Natasha, won’t you deceive me? Will you tell me the whole truth?
Natasha looked at her with tear-filled eyes, and in her face there was only a plea for forgiveness and love.
“My friend, mamma,” she repeated, straining all the strength of her love in order to somehow relieve her of the excess grief that was oppressing her.
And again, in a powerless struggle with reality, the mother, refusing to believe that she could live when her beloved boy, blooming with life, was killed, fled from reality in a world of madness.
Natasha did not remember how that day, that night, the next day, the next night went. She did not sleep and did not leave her mother. Natasha’s love, persistent, patient, not as an explanation, not as a consolation, but as a call to life, every second seemed to embrace the countess from all sides. On the third night, the Countess fell silent for a few minutes, and Natasha closed her eyes, resting her head on the arm of the chair. The bed creaked. Natasha opened her eyes. The Countess sat on the bed and spoke quietly.
– I’m so glad you came. Are you tired, do you want some tea? – Natasha approached her. “You have become prettier and more mature,” the countess continued, taking her daughter by the hand.
- Mama, what are you saying!..
- Natasha, he’s gone, no more! “And, hugging her daughter, the countess began to cry for the first time.

Princess Marya postponed her departure. Sonya and the Count tried to replace Natasha, but they could not. They saw that she alone could keep her mother from insane despair. For three weeks Natasha lived hopelessly with her mother, slept on an armchair in her room, gave her water, fed her and talked to her incessantly - she talked because her gentle, caressing voice alone calmed the countess.
The mother's mental wound could not be healed. Petya's death took away half of her life. A month after the news of Petya’s death, which found her a fresh and cheerful fifty-year-old woman, she left her room half-dead and not taking part in life - an old woman. But the same wound that half killed the countess, this new wound brought Natasha to life.
A mental wound that comes from a rupture of the spiritual body, just like a physical wound, no matter how strange it may seem, after a deep wound has healed and seems to have come together at its edges, a mental wound, like a physical one, heals only from the inside with the bulging force of life.
Natasha’s wound healed in the same way. She thought her life was over. But suddenly love for her mother showed her that the essence of her life - love - was still alive in her. Love woke up and life woke up.
The last days of Prince Andrei connected Natasha with Princess Marya. The new misfortune brought them even closer together. Princess Marya postponed her departure and for the last three weeks, like a sick child, she looked after Natasha. The last weeks Natasha spent in her mother’s room had strained her physical strength.
One day, Princess Marya, in the middle of the day, noticing that Natasha was trembling with a feverish chill, took her to her place and laid her on her bed. Natasha lay down, but when Princess Marya, lowering the curtains, wanted to go out, Natasha called her over.
– I don’t want to sleep. Marie, sit with me.
– You’re tired, try to sleep.
- No no. Why did you take me away? She will ask.
- She's much better. “She spoke so well today,” said Princess Marya.
Natasha lay in bed and in the semi-darkness of the room looked at the face of Princess Marya.
“Does she look like him? – thought Natasha. – Yes, similar and not similar. But she is special, alien, completely new, unknown. And she loves me. What's on her mind? All is good. But how? What does she think? How does she look at me? Yes, she is beautiful."

The first scientific concept of the origin of religion arose in the first half of the twentieth century. among German philologists, whose most prominent representative was Max Müller (1823–1900). An outstanding researcher of Sanskrit and Indian culture, he approached the problem of religion from the linguistic side, starting from the study of classical religious texts of Ancient India, most of which he himself first translated into German and thereby made it the property of European culture. Religiosity, according to Muller, does not come from a sense of divine revelation (as Christian theology interpreted religion), but serves as one of the manifestations of the sensory experience that a person receives in the process of direct contact with reality.

There is no supernatural side of religion, since human mental activity is based solely on sensory perception. It is with the help of feelings that the cognizing subject receives an idea of ​​the surrounding world, which consists of objects of two kinds. Some of these objects are easily accessible and accessible to ordinary human senses (touch, smell, hearing, etc.). Others are accessible to any one sense, but remain inaccessible to all others. For example, the Sun, Moon and stars become accessible to human thinking through vision, but it is impossible to touch them, therefore their inaccessibility instilled in primitive man the idea of ​​the Unattainable and Infinite, which ultimately led to the emergence of the idea of ​​God. Imagery, originally characteristic of human thinking, manifests itself in the fact that the idea of ​​God is not a pure abstraction, but always exists in the form of concrete things or phenomena. The Sun was not initially a god, but only symbolized the idea of ​​divinity, but then the metaphorical nature of the comparison was forgotten and man began to consider the Sun as God.

Muller calls such a transition from metaphorical to literal understanding "tongue disease" In our everyday language, we often use the expression “The sun rises,” thereby attributing to it the characteristics of a living being. According to Muller, primitive man was aware of the conventional, metaphorical nature of this expression, but then for some reason he forgot it and began to consider individual phenomena and things as deities. Words that were originally expressions that had a figurative meaning subsequently acquired independent meaning.

From this point of view, religion does not develop, but degrades, since the only true understanding of God was characteristic of primitive man. Language has managed to distort this understanding, so modern people have received the pitiful remnants of the true faith as a religion.

The most accurate method of studying religion, from the point of view of the mythological concept, is the method of philological and etymological research, which allows one to reveal the original meaning of myths and traditions enshrined in sacred texts. According to one of the ancient Greek myths, Apollo fell in love with Daphne, who ran away from him and was turned into a laurel bush by an angry deity. Muller offers the following interpretation of this plot: Apollo - solar(solar) deity, and the name Daphne has, in addition to the literal meaning of “laurel bush,” also a figurative meaning of “dawn.” Thus, this myth, which describes an ordinary natural phenomenon, talks about the coming of the Sun to replace the dawn.

This method made it possible to explain some myths, but its absolutization led to such controversial statements that, for example, the Trojan War was also a solar myth. Müller's arguments about the nature of the origin of religion, relatively correct from a philological point of view, turned out to be completely unsupported by historical data, therefore the most accurate description that sums up the entire mythological concept are the words of the British anthropologist and religious scholar Edward Evans-Pritchard (1902–1973) : “Max Müller’s influence on the study of religion was short-lived, and Müller himself managed to outlive it.”

Cutting system "M. Muller and Son" is known all over the world and more than 70% of the world's clothing industries operate on the basis of this technique. Name Michael Müller is known to almost everyone, but few people know what kind of person is hidden behind this name.

Michael Müller born in 1852 in Munich. His youth came during the heyday of the luxury of the second Rococo. It was during these years that the first sewing machines were invented. Wilson Singer with a vertically moving needle. The transition to industrial production of clothing required new approaches to the construction of patterns. I took this empty niche M. Muller.

Quite a long time in the 80s of the XIX century Michael worked as the chief cutter at the company "Bach". It was there that he thoroughly studied human anatomy and the various human physiques. And based on anatomical and mathematical calculations, he developed his own method for accurately constructing patterns.

In 1891 M. Muller left his position at the company "Bach" and November 1, 1891, near Gartenplatz square founded "German school of clothing."

Over time, the system developed Muller got the name "Future" and note that this was a name that justified itself, although over time in professional circles it was called "Müller system".

In 1895, the first magazine published by the school was published. "Elegant men's fashion".

By this time the son is growing up Michael Franz Xaver(1874-1937), whom Muller introduces him into his enterprise as a partner.

With coming Franz There are some changes going on at school. First of all, the school was renamed and from that time it was called "School of cutting M. Muller and son." The school also began to expand significantly.

In 1902, a printing house was added to the school, which significantly reduced the school's costs of printing its literature, and also, which was important for that time, allowed it to print fashion sketches as soon as they appeared.

Until 1908, the company continued to actively expand.

At the age of 58 in 1910 Michael left work at the family enterprise and died in 1914, leaving his business to his sons. Franz continued the business as a manager, Adolf ran the printing house, and Josef was a co-owner of the company.

During these years, many students came to Munich from abroad, which required even greater expansion. And in 1911, the brothers purchased a new building of their own for University of Munich, where the company was located until 1935.

In 1912, a financier-businessman joined the management team Otto Georg Koeniger (1884-1975).

During this period, branches of the school appeared in Dusseldorf, Hamburg, Hanover, Berlin, Frankfurt, Stuttgart, as well as in Vienna and Barcelona.

In 1930, the first applications with photographs of clothing models appeared. "Review" (Rundschau).

And in 1933, the printing house separated from the school and publishing house Rundschau. And in the same year Otto became the sole owner "German Academy of Clothing" and publishing houses"Rundschau". The school moved to Omstrasse, 15, where it remains today.

Thus the company was founded Michael Müller was transferred from the hands of his children into the possession of others. We do not know the details of this transfer, we only know that the cutting system "M. Muller and son" has not changed its name to this day. Means Michael Müller achieved his plans and his system "Future" has been a leading sewing production system for over 125 years.