scholarly journals The Systematization and Preservation of Cultural Heritage of National Minorities in the Context of the Postmodern Philosophy

2021 ◽  
Vol 12 (4) ◽  
pp. 241-254
Author(s):  
Iryna Skakalska ◽  
Оleksandra Panfilova ◽  
Iryna Sydun ◽  
Svіtlana Oriekhova ◽  
Tetiana Zuziak ◽  
...  
Keyword(s):  
18Th Century ◽  
Jewish People ◽  
Cultural Value ◽  
Early 19Th Century ◽  
National Minorities ◽  
Plastic Arts ◽  
Historical Factors ◽  
Postmodern Philosophy ◽  
Historical Methods ◽  
First Time

The article studies the Jewish cemetery which provides a significant amount of historical information about various aspects of the life of the Jewish community which have long been out of focus. The objective of the research lies in proving the relevance of marginal culturally significant objects in the context of postmodern philosophy, as well as explaining and analyzing the compositional ways and peculiarities of plastic images of the facades of the gravestones in Kremenets, one of the Volyn areas of the Jewish culture in the 18th century – the early 19th century. The article focuses on the most common method of studying the monuments of Jewish gravestone epigraphy. The methodology of the research is based on the regionalist approaches to the problem and the application of culturological, retrospective comparative-historical methods and the use of critical analysis. For the first time, the artistic and style peculiarities of the memorial plastic arts of Jewish cemetery in Kremenets are analysed and the historical factors that influenced them are explicated. It was proved that the historical and cultural value of the Jewish necropolis in Kremenets lies in its originality. The cemetery is one of the oldest in Europe and contains unique information on the history, customs and culture of the Jewish people. It can become a promising object of visit for postmodern consumers, interested in unpopular and marginal tourist artefacts.

scholarly journals Мансийские исследования: от истоков к современности

2020 ◽  
Vol 13 (3) ◽  
pp. 743-765
Author(s):  
Natalia A. Koshelyuk ◽  
◽  
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Field Studies ◽  
Online Research ◽  
Late 20Th Century ◽  
Research Activities ◽  
Language Research ◽  
The 19Th Century ◽  
Historical Methods ◽  
First Time

Introduction. The article reviews background studies on the Mansi language and its dialects performed by European and Russian (Soviet) linguists. Goals. The paper seeks to provide a comprehensive historical description of Mansi language research. Methods. The descriptive and comparative-historical methods have been employed thereto. Results. The work arranges the studies chronologically — from earliest research activities to contemporary ones — highlighting most essential achievements. Mansi is one of the least studied languages with earliest written accounts dating to the 16th-17th centuries. The earliest Mansi dictionaries were compiled by explorers and missionaries (I. Kuroedov, S. Cherkalov, P. S. Pallas, etc.) in the 18th century. In the 19th century, the Mansi language officially became a subject of scientific research, and expeditions by Finnish and Hungarian linguists (Antal Reguly, August Engelbrekt Ahlqvist, Bernát Munkácsi, Artturi Kannisto) proved the first field studies. In the 20th century, quite a number of European scientists have contributed to Mansi language research, namely: W. Steinitz, L. Honti, K. F. Кarjalainen, M. Bakró-Nagy, K. Rédei, M. Szilasi, and others. In Russia, the first Mansi studies were initiated by Soviet scholars in the 1930s (V. Chernetsov, A. Balandin). Studies in spoken Mansi evolved into a national Cyrillic alphabet, and for the first time ever there were published comprehensive works dealing with Mansi studies, textbooks on Mansi phonetics, morphology, and grammar. Experimental phonetic explorations emerged in the mid-to-late 20th century resulting in new Mansi dictionaries (A. Sainakhova, T. FrankKamenetskaya, E. Rombandeeva, and others). Mansi studies in the 21st century in Russia and Europe have reached a brand new level: there appeared online research laboratories and linguistic platforms which make it possible to further investigate the Mansi language and verify up-to-date materials.

Gypsies: from Belarus to Siberia (according to documents and materials of the 18th - first half of the 19th century)

2020 ◽  
Vol 2020 (10) ◽  
pp. 130-142
Author(s):  
Vladimir Shaidurov ◽  
Tadeush Novogrodsky ◽  
Galina Sinko ◽  
Stepan Zakharkevich
Keyword(s):  
Ethnic Minorities ◽  
19Th Century ◽  
18Th Century ◽  
Early 19Th Century ◽  
15Th Century ◽  
The 19Th Century ◽  
First Time ◽  
Archive Material

In the 14th — 15th century the Belarussian part of the Polish-Lithuanian Commonwealth became a center of ethnic minorities, among which Gypsies stood out. Until the first half of the 18th century, they enjoyed the patronage of the local magnates, thanks to which they got a lean system of self-government and were able to fill their own economic niche. In the 18th century, Gypsies of Belarus were forced to leave their traditional places of residence. As a result, they came to Walachia, Moldavia and Siberia. At the end of the 18th — early 19th century Romani had a mostly semi-nomadic lifestyle in Siberia, many of them settled in cities and engaged in trade and crafts. The present paper approaches the issues of the ethnic-dispersive Gypsies community setup in Siberia, the basis of which was laid by Belarusian Gypsies. The paper is written mainly based on archive material, introduced into scientific circulation for the first time.

"Itzt kommen die Soldaten"

2019 ◽  
Author(s):  
Tilman Venzl
Keyword(s):  
Literary History ◽  
18Th Century ◽  
Military History ◽  
Form And Function ◽  
Social Structural ◽  
History Of ◽  
The Subject ◽  
And Function ◽  
The Military ◽  
First Time

In the 18th century, as many as 300 German-language plays were produced with the military and its contact and friction with civil society serving as focus of the dramatic events. The immense public interest these plays attracted feeds not least on the fundamental social structural change that was brought about by the establishment of standing armies. In his historico-cultural literary study, Tilman Venzl shows how these military dramas literarily depict complex social processes and discuss the new problems in an affirmative or critical manner. For the first time, the findings of the New Military History are comprehensively included in the literary history of the 18th century. Thus, the example of selected military dramas – including Lessing's Minna von Barnhelm and Lenz's Die Soldaten – reveals the entire range of variety characterizing the history of both form and function of the subject.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

scholarly journals Portraits of Undergraduate Discipline-Specific Thinking: Guiding Students from Novice to Proficient Learner

2020 ◽  
Vol 20 (2) ◽  
Author(s):  
Patricia Stovey ◽  
Tiffany Trimmer
Keyword(s):  
Undergraduate Students ◽  
Habits Of Mind ◽  
College Level ◽  
Student Centered ◽  
Cognitive Behaviors ◽  
Second Nature ◽  
Historical Methods ◽  
First Time

This case study presents our experiences, insights, and the pedagogical techniques used to guide undergraduate students toward discipline-specific thinking. It demonstrates the role of student-centered practices in moving students from what we categorize as novice to proficient, a common goal in rite-of-passage courses across the disciplines. Our study follows two semesters of students in undergraduate college-level Historiography and Historical Methods courses to identify common stumbling blocks encountered when learning contextualization (our discipline-specific thinking skill). We analyze students’ habits of mind, cognitive behaviors, and assumptions when learning to think differently. We present a qualitative portrait demonstrating the range of student cognitive behaviors as they attempt to move towards proficiency. As experts immersed in our fields of study and its practices, we can sometimes forget that what comes second-nature to us is far from natural to our students—regardless of their enthusiasm. We may overestimate the background knowledge that our students have, and underestimate the brain bandwidth required when trying—for the first time—to think differently.

scholarly journals Cosmogonies and mythopoesis in the Balkans and beyond

2014 ◽  
Vol 14 ◽  
pp. 87-147 ◽  
Author(s):  
Florentina Badalanova Geller
Keyword(s):  
Oral Tradition ◽  
18Th Century ◽  
The Balkans ◽  
Biblical Literature ◽  
The Earth ◽  
Different Types ◽  
To Come ◽  
Academy Of Sciences ◽  
First Time ◽  
The Devil

Cosmogonies and mythopoesis in the Balkans and beyondCompared and contrasted in this article are three different types of accounts dealing with the cosmogonic and eschatological themes employed in Slavonic and Balkan oral tradition, para-Biblical literature and modern poetry. The focus of analysis is the cluster of motifs attested in the creation narrative of the apocryphal Legend of the Sea of Tiberias. Two versions are examined: the South-Slavonic one discovered in 1845 by V. Grigorovich in the Monastery of Slepche, and the 18th century Russian account from MS № 21.11.3 (fols. 3a–5b) from the Archaeographic Department of the Library of the Academy of Sciences [Библиотека Академии наук, Рукописный отдел] in St. Petersburg, composed most probably by an Old Believer; this manuscript is published here for the first time. Folklore counterparts of the apocryphal Legend of the Sea of Tiberias are treated, with special emphasis on the oral narratives from the Bulgarian diaspora in Bessarabia (God and the Devil Create the World Amicably but then Fall Out). Finally, a poem of the 20th century Bulgarian intellectual Pencho Slaveykov [Пенчо Славейков] from his anthology “On the Island of the Blessed” is discussed; the poem, entitled How God willed the Earth to come to be and what did Satanail do after that? was designated by Slaveykov himself as “a legend of the Bogomils”, and blended within his lyrics are dualistic themes and motifs attested in vernacular Christianity, with the hallmark of Haeresis Bulgarica. Kosmogonie i mitopoetyki na Bałkanach i nie tylkoW artykule zostały porównane trzy typy narracji zawierających wątki kosmogoniczne i eschatologiczne, które funkcjonują w słowiańskiej i bałkańskiej tradycji ustnej, literaturze parabiblijnej oraz poezji doby modernizmu. Przedmiotem uwagi stała się grupa motywów poświadczonych w narracji o stworzeniu, znanej z Legendy o Morzu Tyberiadzkim. Analizom poddane zostały dwie wersje: południowosłowiańska, odkryta w 1845 roku przez W. Grigorowicza w Monastyrze w Slepče, oraz ruska – z XVIII wieku, znajdująca się w kodeksie MS № 21.11.3 (fols. 3a–5b), przechowywanym w Oddziale Rękopisów Biblioteki Akademii Nauk w Sankt Petersburgu – skomponowana najprawdopodobniej w środowisku staroobrzędowców (rękopis ten jest tu publikowany po raz pierwszy). Następnie przeprowadzona została analiza odpowiedników folklorystycznych apokryficznej Legendy o Morzu Tyberiadzkim, ze szczegól­nym uwzględnieniem narracji ustnych funkcjonujących w bułgarskiej diasporze w Besarabii (Bóg i Diabeł tworzą świat w przyjaźni ale potem stają się wrogami). Na końcu został poddany interpretacji poemat z XX wieku autorstwa bułgarskiego modernisty Penczo Sławejkowa [Пенчо Славейков] z antologii Na wyspie błogosławionych [На острова на блажените]; poemat ten, zatytułowany Jak Bóg zezwolił, aby powstała ziemia i co potem uczynił Satanael?, został nazwany przez samego autora „legendą Bogomiłów”, i skompilowany w jego tekstach z dualistycznymi motywami występującymi w chrześcijaństwie tego regionu, a rozpoznawa­nymi jako haeresis bulgarica.

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

scholarly journals Az erdélyi románok kisebbségjogi jogállása 1918 előtt

2020 ◽  
Vol 3 (2) ◽  
pp. 27-57
Keyword(s):  
18Th Century ◽  
Minority Rights ◽  
Minority Status ◽  
Habsburg Empire ◽  
Legislative Period ◽  
National Minorities ◽  
Hungarian State ◽  
1848 Revolution

The purpose of the study is to explain the evolution of regulations that resulted in minority rights for Romanians living in Transylvania in the pre-1918 period. The study analyses in detail the advancement of the idea of “ nationalities” (in the meaning of national minorities) in the legislation from the last decade of the 18th century and presents the legal claims of the Transylvanian Romanians against the Habsburg Empire and the Hungarian Parliament. The authors present the Nationalities Act adopted in the 1848 revolution, but left without consequences, and examine the development of laws on minority rights during the legislative period following the Austrian-Hungarian settlement. The article discusses the grand debate on the act on nationalities, which took place in the Hungarian Parliament in 1868, and describes the later assimilation efforts by the majority lawmakers. The authors draw attention to the fact that non-Hungarian nationalities acquired a minority status only after the adoption of the Nationalities Act by the Hungarian state, which became a so-called majority state.

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