scholarly journals Biblical Plots in the Siberian Text

2020 ◽  
Vol 18 (4) ◽  
pp. 331-347
Author(s):  
Tatiana Bogumil
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Comparative Approach ◽  
Prodigal Son ◽  
Cultural Boundaries ◽  
New Material ◽  
The 19Th Century ◽  
The Church ◽  
Over Time ◽  
Selection Of

The article describes and systematizes biblical plots characteristic of the Siberian text in Russian culture. The colonization of Siberia was accompanied by the Christianization of its autochthons. The influence of the church on the formation of the local literary tradition was very strong. The regional specifics of Siberia (nature, history, ethnos) influenced the selection of biblical motifs and plots in the works about this space. The comparative approach made it possible to identify and chronologically organize the following biblical themes paradigmatic for the Siberian text: apostolic / missionary. Christological initiation, exodus, the prodigal son. Biblical stories related to Siberia were inverted over time, and religious semantics were supplanted by other topics. The single core that allows to amalgamate these plots and motives is the idea of transformation (of oneself, another person, space). Hypothetically, each plot has its own period of maximum productivity, followed by a recession. The missionary plot and the plot of Christological initiation were revised in the 17th century and remained productive until the end of the 19th century. The narrative of the search for Belovodye, isomorphic to the exodus of Jews from Egypt, arose at the end of the 18th century. It was active until the end of the 20th century. The motive of the prodigal son was relevant in the middle of the 19th century in the work of the regionalists and, later, their heirs. Globalization and informatization processes and the blurring of spatial and cultural boundaries gradually make this plot irrelevant. It is possible to expand the “canonical” spectrum of biblical images, motifs, and plots for the Siberian text by engaging new material.

scholarly journals KRYASHENS OF UDMURT PRIKAMYE REGION IN THE LAST THIRD OF THE XVIII - MIDDLE XIX CENTURY

2019 ◽  
Vol 13 (3) ◽  
pp. 485-494
Author(s):  
Nikolai Viktorovich Pislegin ◽  
Vladimir Sergeevich Churakov
Keyword(s):  
Ethnic Group ◽  
19Th Century ◽  
18Th Century ◽  
Territorial Unit ◽  
Late 18Th Century ◽  
Udmurt Republic ◽  
Class Status ◽  
Xix Century ◽  
The 19Th Century ◽  
Over Time

The article comes to view the development of Kryashens, which are connected with Udmurts or with the territory of the modern Udmurt Republic, in the last third of the 18th - middle 19th century. The area in question is the Malmyzh and Elabuga counties of Vyaka province and Mamadysh county of Kazan province. The “Udmurt old-christened” ethno-class status of the inhabitants of the settlements of the Srednekushket volost’ of the Malmyzh county, noted by the sources, was to some extent a “tribute to tradition”. In Mamadysh county in 1834 historically associated with the Udmurts Kryashen settlements were located in 3 volosts; the tendency for their assimilation, which was reflected in the middle of the 18th century, was completed here even earlier, in the first third of the 19th century. In Yelabuga county since its formation there was a old-christened small administrative-territorial unit. In the historical settlements of Kryashens, located in our days in the territory of the Udmurt Republic (Grakhov and Kizner districts), their Udmurt origin, with few exceptions, is not traced. The appearance of this sub-ethnic group of Tatars here was mainly due to migration processes from the nearest southern territory. In this period the norm for the Kryashens was shared with other peoples - Tatars, Mari, Udmurts, and later - Russians. The presence of Russians in historical Kryashen villages steadily increased over time. From the late 18th century the Kryashen volosts often included villages with different ethnic-caste identity. From the second quarter of the 19th century the disappearance of the Kryashen small administrative-territorial units began. It was caused, first of all, by transformations of the state in this sphere.

scholarly journals Armenian Amulets from the Collection of Armenian Orthodox Diocese in Baghdad

2021 ◽  
Vol 9 ◽  
pp. 42-79
Author(s):  
Lusine Sargsyan ◽  
◽  
Davit Ghazaryan ◽  
◽  
Keyword(s):  
Eighteenth Century ◽  
19Th Century ◽  
18Th Century ◽  
Point Of View ◽  
Innovative Approach ◽  
Western Art ◽  
The Third ◽  
The 19Th Century ◽  
The City ◽  
Selection Of

This study is dedicated to the Armenian manuscript and printed Amulet1 of the Armenian Diocese of Baghdad (DAOB). In this collection of early printings, there are two printed Amulets in scroll (Pr. n. 14, second half of the 19th century and Pr. n. 15, A.D. 1716). The third Amulet is a manuscript written in 1736 in the city of Erzrum (Karin) for a certain Ohan (Ms. n. 13). The scanned copies of these amulets are currently available through the website of Hill Museum and Manuscript Library (HMML).2 Since this paper is the first study of these amulets, it presents them in terms of codicology and bibliographical study and discusses their decoration. The study of some iconographic details will help to reveal the practice of using amulets and their meaning, considering them as a representation of Armenian “folklore-art”, since scribes and miniaturists were partly free to choose texts and decorate them, even they were mostly works of the priesthood.3 It should be noted that as artifacts of the same genre, having a purpose of protection of their owners using incantations and prayers, very often the content and decoration of these three Amulets have similarities. From this point of view, Ms. n. 13 (A.D. 1736) and Pr. n. 15 (A.D. 1716) are more relevant to each other both in content and, accordingly, in decoration. A selection of prayers and illustrations to them show almost the same structure, and for the printed Amulet, we can certainly argue that such structure was typical (but not limited) for the printed Amulets in the Armenian tradition from the 18th to 19th centuries. Despite some similarities with two previous Amulets, the Pr. n. 14 (19th century) represent another structure of content and its decoration. It is enriched with prayers and illustrations which does not exist in mentioned above two examples of the 18th century. E.g. engravings depicting the life of Christ (Annunciation, Birth of Jesus Christ, Baptism, Resurrection, etc.), or portraits of the evangelists, accompanied by the passages from their Gospels. Our research shows that the publishers of this Amulet had an eighteenth-century prototype and took an innovative approach using Western art engravings.

scholarly journals Na pograniczu wyznaniowym. Nieistniejąca unicka cerkiew pod wezwaniem św. Praksedy Męczennicy w Milejowie i jej wyposażenie

2019 ◽  
Vol 16 (1/2) ◽  
pp. 7
Author(s):  
Paweł Sygowski
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Roman Catholic ◽  
Orthodox Church ◽  
Sick People ◽  
History Of ◽  
The 19Th Century ◽  
Madonna And Child ◽  
Parish Priests ◽  
The Church

<p>W czasach Rusi Halicko-Włodzimierskiej osadnictwo ruskie na terenie dzisiejszej Lubelszczyzny posuwało się systematycznie na zachód. W XV i XVI w. dotarło do doliny Wieprza. W jego środkowym biegu powstało wówczas kilka parafii prawosławnych – Łęczna, Puchaczów, a także Milejów. Parafie te po przystąpieniu diecezji chełmskiej do unii brzeskiej stały się unickimi. Usytuowanie ich na terenie ze wzrastającą przewagą osadnictwa polskiego spowodowało przechodzenie wiernych na rzymsko katolicyzm. Proces ten szczególnie widoczny jest w 2 połowie XVIII w. i 1 połowie XIX w. Parafia w Milejowie należąca do najstarszych na tym terenie, pod koniec XVIII w. liczyła zaledwie kilku parafian, a na początku XIX w. rezydował tu jedynie proboszcz unicki, ks. Bazyli Hrabanowicz. W 2 dekadzie XIX w. ówczesny właściciel dóbr milejowskich – Adam Suffczyński – rozpoczął starania o przekształcenie parafii unickiej w parafię rzymskokatolicką, a cerkwi unickiej w kościół. Okazało się to dosyć skomplikowane. Najpierw parafię unicką należało zamknąć, a dopiero potem utworzyć parafię rzymskokatolicką. Proces ten kontynuowała siostra Adama – Helena Chrapowicka, która wkrótce przekazała to zadanie kuzynowi Antoniemu Melitonowi Rostworowskiemu, a po jego śmierci założeniem parafii i budową kościoła zajęła wdowa po nim – Maria z Jansenów, a następnie ich syn Antoni Rostworowski. Parafia unicka została zamknięta w 1852 r., cerkiew rozebrana, a murowany kościół został wzniesiony w latach 1855-1856. Po śmierci wspomnianego proboszcza unickiego w 1832 r. (ostatniego tutejszego parocha), cerkwią opiekował się proboszcz Dratowa. Część wyposażenia cerkwi milejowskiej została przeniesiona do świątyni dratowskiej, gdzie spłonęło ono w roku 1886 r., w pożarze tamtejszej świątyni. Część wyposażenia zabezpieczona została we dworze milejowskim i po wybudowaniu kościoła przeniesiona do niego. Wśród tego wyposażenia wyróżnia się pochodząca z 2 połowy XVII w. ikona Matki Boskiej z Dzieciątkiem (w typie Eleusy), odnowiona w latach 2012-2013 staraniem ówczesnego proboszcza – ks. Andrzeja Juźko. Po akcji rozbiórkowej cerkwi w 1938 r. to jedna z wyjątkowo nielicznych, ocalałych ikon dawnej diecezji Kościoła wschodniego na Lubelszczyźnie.</p><p><strong>On the Religious Borderland. A Defunct Uniate Church under the Invocation of St. Praxedes the Martyr in Milejów and its Equipment</strong></p>SUMMARY<p>The parish in Milejów was one of the early Orthodox parishes in the Wieprz valley, recorded in the 1470s. The presence of the Orthodox priest in Milejów is documented in tax registers in the 16th century. More information on the Uniate parish and its Orthodox church can be found in the documents of the 18th-19th centuries. The author presents the history of the Milejów Uniate church and the parish with particular reference to the equipment of the church. First, the old Uniate church is described (the last quarter of the 17th and the fi rst half of the 18th century). The church had the high altar and three side altars; in addition, there were inter alia, liturgical vessels, altar bells, the bells on the belfry, liturgical books, an perhaps an iconostasis. The new Uniate church (the second half of the 18th and the fi rst half of the 19th century) – erected in the second half of the 18th century in place of the old one (which burnt down in ca. 1760) contained the high altar with the picture of Our Lady (painted on canvas) and two side altars. The equipment also included, inter alia, a silver and gilded pro Venerabili vessel, a chalice with a paten and a spoon, a can “for sick people”, an altar tin cross, a brass thurible, a metal swag lamp, three altar bells, a bell at the sacristy, four reliquaries, two small brass candlesticks, a processional cross, pictures, liturgical books. The next described stage is the end of the Uniate parish and the beginnings of the creation of the Roman-Catholic parish in the 19th century, founded in 1858. The new church – erected a few hundred meters from the place of the Uniate church – was consecrated in 1859. The equipment of the Uniate church before its demolition (the second quarter of the 19th century) included in 1828, inter alia, the above mentioned three altars, a new choir, a crucifi x, a confessional, a pulpit, candlesticks, pictures, and a new umbraculum. The inventory of 1847 also mentioned, inter alia, four icons situated near the high altar, a stoup, four benches, twenty candlesticks, and a porcelain chandelier. In the next part of the text the author describes the icons preserved in the Milejów church: „Matka Boska z dzieciątkiem” [Madonna and Child] and „Przemienienie Pańskie” [the Transfi guration of the Lord]. In the next parts of the article the author describes the history of the owners of Milejów, patrons and parish priests. At the end of the article he synthetically presents the history of the Milejów parish.</p>

scholarly journals Paintings of Dotnuva Church of the Lord’s Revelation to Virgin Mary

Menotyra ◽  
2018 ◽  
Vol 25 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Virgin Mary ◽  
Identical Composition ◽  
The Cross ◽  
Dutch Painter ◽  
The 19Th Century ◽  
The Church ◽  
The Way

The article discusses the poorly investigated painting heritage of the Dotnuva Bernardine Church, which covers the period from the monastery establishment in 1701 until its closure in 1864. In the article, we have tried to disclose, based on written sources and studies in situ, the origin of the pictures, their shifts during the time, to examine the iconography, attribution questions and also to reveal the piety traditions of Bernardines manifested through the paintings. The Bernardines in Dotnuva have retained a rare and valuable painting of the Virgin Mary with a child adorned with the baroque crowns from the second half of the 17th century. The painting was created according to the example of “The Virgin Mary with a Child” (1520) of a Dutch painter Adriaen Isenbrant. In the iconographic programme of the altars and the titles of the church the spirituality of Bernardines is reflected. They were intended to bless the Revelation to Virgin Mary, the sufferings of Jesus and to glorify the most important Saints of the Franciscans as well as other Saints (St. Anna, St. Barbara). Tense artistic interactions between the monasteries of St Casimir province reveal the early paintings of Dotnuva Church – St. Anthony of Padua and St. Anna (“St. Family”) painted by the same iconographic types prevalent in the environment of Bernardines. A painting of St. Anthony (beginning of the 18th century) brought from Vilnius is of identical composition as paintings of Vilnius Bernardines, and a painting of St. Anna as paintings from Kretinga). This tendency is also observed in the later paintings of Dotnuva Church. Several paintings remain in Dotnuva Church from the 18th century, but the paintings from the first half of the 19th century comprise the largest part. It can be assumed that the artistic quality of the paintings acquired from the first half of the 19th century was influenced by Chrapowicki family, church benefactors and collators, representative position and a demanding approach of Bernardines to art works. From the beginning until the middle of the 19th century, installation works in a new masonry church took place. Valuable altar paintings depicting the Way of Cross of exceptional iconography and a rare painting from the Old Testament were acquired. In the 1770s, GeorgiusKosztown, a professional painter, created a painting “The Trial of Susanna” for the church, which was mentioned in the visitation act in 1817. On the basis of stylistics and historical assumptions, he also could be the author of other altar paintings created at the same time: St. Francis of Assisi, St. Anna (St. Family), St. Barbara, St. Anthony of Padua, Way of the Cross and St. Dominic. J. Roselino, another professional painter, worked in Dotnuva at the same time. In 1819, he created a painting “St. Florian”. The artistic value of the works acquired in the middle of the 19th century has decreased. Adolf Czapski (“The Trinity”), a painter from Kėdainiai, Zboilev (“The Divine”) and other unknown painters participated in the decoration of the church. This study of the heritage of the Dotnuva Bernardine Church is only preliminary. This publication is intended to draw attention to the survived altar paintings characterised by stylistic integrity, images of the Way of the Cross and other valuable works.

scholarly journals „СТАРОСТ” ПОЕТСКОГ ЛИКА СРБИНА ЈУНАКА И УЗРОК ЊЕГОВЕ ПОПУЛАРНОСТИ У ЈУЖНОСЛОВЕНСКОЈ НАРОДНОЈ ПОЕЗИЈИ

TEME ◽  
2018 ◽  
pp. 859
Author(s):  
Урош Шешум
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Lyric Poetry ◽  
The South ◽  
South Slavs ◽  
Continued Use ◽  
The 19Th Century ◽  
Over Time ◽  
As If

The paper deals with the period in time when a poetic character, bearing the title “ethnic Serb” as if it were his own personal name, was introduced into epic and lyric poetry of the South Slavs, and the cause of his vast representation in epic and lyric poetry in the area of today’s Macedonia, North Greece and West Bulgaria in the 19th century. The paper indicates towards a continued use of the ethnic Serb as an anthroponym in today’s West Macedonia between the 15th and 19th centuries and the popularity of poems about an eponymous hero in the same area. A hypothesis was therefore introduced claiming that before the 18th century he was a hero of the local folklore of this area, with poems describing him expanding to other regions over time.         

scholarly journals Diversity and selection of the continuous-flowering gene, RoKSN, in rose

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Vanessa Soufflet-Freslon ◽  
Emilie Araou ◽  
Julien Jeauffre ◽  
Tatiana Thouroude ◽  
Annie Chastellier ◽  
...  
Keyword(s):  
19Th Century ◽  
Ornamental Plants ◽  
Repressor Gene ◽  
Important Trait ◽  
Floral Repressor ◽  
The 19Th Century ◽  
Selection Of

AbstractBlooming seasonality is an important trait in ornamental plants and was selected by humans. Wild roses flower only in spring whereas most cultivated modern roses can flower continuously. This trait is explained by a mutation of a floral repressor gene, RoKSN, a TFL1 homologue. In this work, we studied the origin, the diversity and the selection of the RoKSN gene. We analyzed 270 accessions, including wild and old cultivated Asian and European roses as well as modern roses. By sequencing the RoKSN gene, we proposed that the allele responsible for continuous-flowering, RoKSNcopia, originated from Chinese wild roses (Indicae section), with a recent insertion of the copia element. Old cultivated Asian roses with the RoKSNcopia allele were introduced in Europe, and the RoKSNcopia allele was progressively selected during the 19th and 20th centuries, leading to continuous-flowering modern roses. Furthermore, we detected a new allele, RoKSNA181, leading to a weak reblooming. This allele encodes a functional floral repressor and is responsible for a moderate accumulation of RoKSN transcripts. A transient selection of this RoKSNA181 allele was observed during the 19th century. Our work highlights the selection of different alleles at the RoKSN locus for recurrent blooming in rose.

Speculations on the Nature and Pattern of Opium Smoking

1979 ◽  
Vol 9 (2) ◽  
pp. 247-255 ◽  
Author(s):  
John C. Kramer
Keyword(s):  
Drug Use ◽  
Southeast Asia ◽  
19Th Century ◽  
18Th Century ◽  
The 19Th Century ◽  
Withdrawal Signs

Opium smoking began spreading slowly but steadily in China from early in the 18th Century. It grew through the 19th Century to the point that by the end of the century it became a nearly universal practice among males in some regions. While estimates vary, it appears that most smokers consumed six grams or less daily. Addicted smokers were occasionally found among those smoking as little as three grams daily, but more often addicted smokers reported use of about 12 grams a day or more. An individual smoking twelve grams of opium probably ingests about 80 mg. of morphine. Thirty mg. of morphine daily may induce some withdrawal signs, while 60 mg. daily are clearly addicting. While testimony varied widely, it appears likely that most opium smokers were not disabled by their practice. This appears to be the case today, too, among those peoples in southeast Asia who have continued to smoke opium. There appear to be social and perhaps psychophysiological forces which work toward limiting the liabilities of drug use.

Scholars discover local history: the case of northeast Lapland in the 18th century

Polar Record ◽  
2011 ◽  
Vol 48 (3) ◽  
pp. 291-303 ◽  
Author(s):  
Maria Lähteenmäki
Keyword(s):  
19Th Century ◽  
Economic Efficiency ◽  
18Th Century ◽  
Local Information ◽  
Local History ◽  
Ordinary People ◽  
The People ◽  
New Form ◽  
The 19Th Century ◽  
Distant Region

ABSTRACTThe academic study of local and regional history in Sweden took on a quite new form and significance in the 18th century. Humiliating defeats in wars had brought the kingdom's period of greatness to an end and forced the crown to re-evaluate the country's position and image and reconsider the internal questions of economic efficiency and settlement. One aspect in this was more effective economic and political control over the peripheral parts of the realm, which meant that also the distant region of Kemi Lapland, bordering on Russia, became an object of systematic government interest. The practical local documentation of this area took the form of dissertations prepared by students native to the area under the supervision of well known professors, reports sent back by local ministers and newspaper articles. The people responsible for communicating this information may be said to have functioned as ‘mimic men’ in the terminology of H.K. Bhabha. This supervised gathering and publication of local information created the foundation for the nationalist ideology and interest in ordinary people and local cultures that emerged at the end of the century and flourished during the 19th century.

Kazania dla młodzieży żydowskiej w Galicji

2021 ◽  
Author(s):  
Alicja Maślak-Maciejewska
Keyword(s):  
Secondary Schools ◽  
Religious Education ◽  
20Th Century ◽  
19Th Century ◽  
Jewish Students ◽  
Jewish Youth ◽  
The 19Th Century ◽  
Selection Of

The book contains a selection of eighty eight sermons (so-called exhortations) for the Jewish youth, which were written in Galicia at the end of the 19th century and in the first decades of the 20th century. They constituted part of religious education of Jewish students who attended secular primary and secondary schools. The authors of the sermons were teachers such as Natan Szyper, Arnold Friedman or Samuel Wolf Guttman who was the preacher of the progressive synagogue in Lviv.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

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