scholarly journals ХУДОЖНЬО-ОБРАЗНЕ ТА ЗМІСТОВНЕ ВТІЛЕННЯ НАРОДНИХ ТРАДИЦІЙ В УКРАЇНСЬКОМУ ТЕАТРІ ПОЧАТКУ XX СТОЛІТТЯ (ЗА МАТЕРІАЛАМИ ЖУРНАЛУ "НОВЕ МИСТЕЦТВО")

2021 ◽  
pp. 107-119
Author(s):  
О. Г. Рибченко
Keyword(s):  
Primary Source ◽  
Practical Significance ◽  
Stage Design ◽  
Folk Traditions ◽  
History Analysis ◽  
Art Journal ◽  
Theatrical Performances ◽  
Methods Of Synthesis ◽  
History Of ◽  
Artistic Heritage

The purpose to demonstrate the implementation of folk traditions in the 1920s scenography on the example of two theatrical performances: “Sava Chaly” (Theatre “Berezil,” Kharkiv, 1927) and “The Fair at Sorochyntsi” (State Ukrainian Opera, Kyiv, 1925) based on the materials of the archival editions of the “New Art” journal (Kharkiv, 1925–1928). Methodology. The methodological basis of the study is a systematic approach, methods of synthesis, generalization, comparative historical and art history analysis. Results. The review of the archival issues of the weekly “New Art” journal allowed to confirm that folk traditions played a prominent role in theatre art at the beginning of the XX century and served as a source of inspiration for scenographers, composers, performers etc. The study indicates the importance of the “New Art” journal as a primary source of information on the cultural events in Ukraine. Based on its issues, the study analyses the publications and photo materials on the scenography of the “Sava Chaly” (Theatre “Berezil,” Kharkiv, 1927) and “The Fair at Sorochyntsi” (State Ukrainian Opera, Kyiv, 1925) performances. The elements of Ukrainian folk art in these performances were emphasised. It is noted that evocation of the folk traditions in the scenography was both a showcase and a guarantee of the preservation of the ethnocultural phenomena in the theatrical environment of the period. The novelty of the study is the identification of the specifics of the use of folk traditions and ethnic elements in the scenography of the 1920s, as well as the introduction into the scientific discourse of the “New Art” journal's issues, which offer materials on the implementation of the folk traditions by directors, stage designers and performers. The practical significance. The study can be useful for research of the history of Ukrainian scenography; the analysis of the artistic heritage of stage designers of the XX century's leading theatres is vital for enriching the modern Ukrainian stage design.

scholarly journals The Origins of the Genre of the English Masque

2020 ◽  
pp. 89-98
Author(s):  
Alla Sokolova
Keyword(s):  
Practical Significance ◽  
Stage Design ◽  
Royal Court ◽  
Folk Traditions ◽  
European Culture ◽  
Theatrical Performance ◽  
History Of ◽  
History Of Culture ◽  
The Times ◽  
Early English

This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.

scholarly journals The Great Patriotic War in the fate of the Leningrad artist I.V. Varzar

2020 ◽  
pp. 171-178
Author(s):  
E.I. Darius
Keyword(s):  
Systematic Study ◽  
Art History ◽  
Methodological Approach ◽  
Archival Research ◽  
Soviet Art ◽  
History Analysis ◽  
Great Patriotic War ◽  
History Of ◽  
First Time ◽  
Artistic Heritage

The main purpose of the article is to present the art and biography of the artist Irina Varzar, who worked in the field of book and easel graphics. Her works are well known to Soviet art historians, but a systematic study of the artist's biography and work has not yet been done. This article for the first time lays the foundations for a detailed study of the artistic heritage and biography of I.V. Varzar. The novelty of the work lies in the fact that on the basis of archival sources, an important stage of the artist's life in Barnaul during the great Patriotic war (1941–1945) is restored. There she was evacuated from besieged Leningrad. For the first time, the graphic works of the artist created in Altai are described in detail. The article uses a comprehensive methodological approach — the main art history analysis is expanded through archival research and the method of historical and biographical reconstruction. The main results include the introduction into the scientific and art history of a number of works by Irina Varzar, a systematic presentation of the main stages of the artist's creative biography. For the first time, her works of the period of the Great Patriotic War are analyzed in detail and the main techniques of the artistic method are shown. Основная цель статьи состоит в том, чтобы представить искусство и биографию художницы Ирины Васильевны Варзар, работавшей в области книжной и станковой графики. Ее работы хорошо известны историкам искусства советского времени, но системного исследования биографии и творчества художницы еще не сделано. Настоящая статья впервые закладывает основы подробного изучения художественного наследия и биографии И.В. Варзар. Новизна работы заключается в том, что на основании архивных источников восстанавливается важный этап жизни художницы в Барнауле в период Великой Отечественной войны (1941–1945 гг.). Туда она была эвакуирована из блокадного Ленинграда. Впервые подробно описываются графические работы художницы, созданные ею на Алтае. В статье применен комплексный методологический подход — основной искусствоведческий анализ расширен за счет архивоведческих изысканий и метода историко-биографической реконструкции. К основным результатам стоит отнести введение в научный и искусствоведческий оборот ряда произведений Ирины Варзар, систематическое изложение основных этапов творческой биографии художницы. Впервые подробно анализируются ее работы периода Великой Отечественной войны и показываются основные приемы художественного метода.

scholarly journals Genesis of the Norm on Criminal Liability for Hostage Taking in Domestic Law

2020 ◽  
pp. 1600-1609
Author(s):  
Anna V. Serebrennikova ◽  
Maksim V. Lebedev
Keyword(s):  
Criminal Law ◽  
Criminal Liability ◽  
Scientific Information ◽  
Practical Significance ◽  
Soviet Period ◽  
Political Crisis ◽  
Criminal Cases ◽  
Judicial Practice ◽  
Methods Of Synthesis ◽  
History Of

The widespread prevalence of terrorist crimes, as well as the problems of qualifying hostage taking and demarcation from related crimes, are currently relevant for scientific research. The theoretical and practical aspects contained in the norm on criminal liability for hostage taking have had a long and ambiguous history; they require studying the genesis of the norm on hostage taking and the practice of its application. The work contains only significant records of domestic jurisprudence, containing norms on criminal liability for hostage taking from origins up to the present. Methodology: deduction, induction, methods of synthesis, analysis, historical and formal logical research. Conclusions: 1. The history of the application of the norm on criminal liability for hostage taking is fraught with qualification problems at all stages. These problems are ambiguous and are expressed by the fact that the legislator, under the influence of external and internal factors, makes mistakes in the systematization and codification of the criminal law, often losing the line between the norm and related crimes. As for external factors, in our understanding they are also the norms of international law on hostage taking, which, influencing the national law of the USSR, went through the stages of their development, creating norms by trial and error. For example, the rule did not apply if the taking occurred within the same state and the hostage and the perpetrators were its citizens. 2. The analysis of official statistics starting from the single crimes of the Soviet period, the post-perestroika mass crime boom of the 90s of the last century caused by the political crisis, ending with the statistical recession and the relatively well-coordinated work of state structures of the 2000s allows us to conclude that there are calculus flaws. 3. The introduction of the category of public safety has led to a significant decrease in statistical indicators, due to qualifications through related crimes. In this regard, according to lawyers, the reduction in hostage taking has a technical or static character. This led to a proportional increase in qualifications in related crimes. Scientific and practical significance: The study presented in the article gives an ontological idea of the development of the norm, reveals the technique of law making in the design of the norm on hostage taking. The conducted research is based on the materials of judicial practice in specific criminal cases, which may be of interest to researchers of this norm. These examples show the presence of law enforcement errors in the qualification of terroristic crimes, which can be perceived by practitioners as educational material. The article can serve as a source of scientific information for students of law schools, graduate students and applicants, as well as for researchers involved in the study of the national criminal law of the Russian Federation

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES

2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza
Keyword(s):  
Political Development ◽  
Children And Youth ◽  
Main Task ◽  
Growing Up ◽  
Theatrical Performances ◽  
History Of ◽  
The One

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.

A New Step in the Study of the History of the Russian Prosecutor’s Office

2019 ◽  
pp. 94-98
Keyword(s):  
Russian Federation ◽  
Russian Empire ◽  
Practical Significance ◽  
History Of ◽  
The Russian Federation ◽  
The Russian Empire ◽  
High Level ◽  
The University

The paper is a review on the textbook by A. V. Yeremin, «The History of the National Prosecutor’s office» and the anthology «The Prosecutor’s Office of the Russian Empire in the Documents of 1722–1917» (authors: V. V. Lavrov, A. V. Eremin, edited by N. M. Ivanov) published at the St. Petersburg Law Institute (branch) of the University of the Prosecutor’s office of the Russian Federation in 2018. The reviewers emphasize the high relevance and high level of research, their theoretical and practical significance. The textbook and the anthology will help the students increase their legal awareness, expand their horizons.

scholarly journals Architectural ruins: geoculture of the anatomy of buildings as illustrated by Casa Ippolito, Malta

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Lino Bianco
Keyword(s):  
Material Culture ◽  
Building Materials ◽  
Raw Materials ◽  
Primary Source ◽  
Secondary Sources ◽  
Non Invasive ◽  
History Of ◽  
Aerial Vehicle ◽  
Materials Used ◽  
Building Physics

AbstractRuins are a statement on the building materials used and the construction method employed. Casa Ippolito, now in ruins, is typical of 17th-century Maltese aristocratic country residences. It represents an illustration of secondary or anthropogenic geodiversity. This paper scrutinises these ruins as a primary source in reconstructing the building’s architecture. The methodology involved on-site geographical surveying, including visual inspection and non-invasive tests, a geological survey of the local lithostratigraphy, and examination of notarial deeds and secondary sources to support findings about the building’s history as read from its ruins. An unmanned aerial vehicle was used to digitally record the parlous state of the architectural structure and karsten tubes were used to quantify the surface porosity of the limestone. The results are expressed from four perspectives. The anatomy of Casa Ippolito, as revealed in its ruins, provides a cross-section of its building history and shows two distinct phases in its construction. The tissue of Casa Ippolito—the building elements and materials—speaks of the knowledge of raw materials and their properties among the builders who worked on both phases. The architectural history of Casa Ippolito reveals how it supported its inhabitants’ wellbeing in terms of shelter, water and food. Finally, the ruins in their present state bring to the fore the site’s potential for cultural tourism. This case study aims to show that such ruins are not just geocultural remains of historical built fabric. They are open wounds in the built structure; they underpin the anatomy of the building and support insights into its former dynamics. Ruins offer an essay in material culture and building physics. Architectural ruins of masonry structures are anthropogenic discourse rendered in stone which facilitate not only the reconstruction of spaces but also places for human users; they are a statement on the wellbeing of humanity throughout history.

Die messiaanse interpretasie van die psalms in enkele Antiocheense en Oos- Siriese psalmkommentare

2011 ◽  
Vol 45 (2/3) ◽  
Author(s):  
H.F. Van Rooy
Keyword(s):  
New Testament ◽  
Primary Source ◽  
Supplementary Data ◽  
Theodore Of Mopsuestia ◽  
The New Testament ◽  
Psalm 110 ◽  
History Of ◽  
Psalm 22 ◽  
Allegorical Interpretation

The messianic interpretation of the psalms in a number of Antiochene and East Syriac psalm commentariesThe Antiochene exegetes interpreted the psalms against the backdrop of the history of Israel. They reconstructed a historical setting for each psalm. They reacted against the allegorical interpretation of the Alexandrian School that frequently interpreted the psalms from the context of the New Testament. This article investigates the messianic interpretation of Psalms 2 and 110, as well as the interpretation of Psalm 22, frequently regarded as messianic in non-Antiochene circles. The interpretation of these psalms in the commentaries of Diodore of Tarsus, Theodore of Mopsuestia and Išô`dâdh of Merv will be discussed, as well as the commentary of Denha-Gregorius, an abbreviated Syriac version of the commentary of Theodore. The commentaries of Diodore and Theodore on Psalm 110 are not available. The interpretation of this psalm in the Syriac commentary discussed by Vandenhoff and the commentary of Išô`dâdh of Merv, both following Antiochene exegesis, will be used for this psalm. The historical setting of the psalms is used as hermeneutical key for the interpretation of all these psalms. All the detail in a psalm is interpreted against this background, whether messianic or not. Theodore followed Diodore and expanded on him. Denha-Gregorius is an abbreviated version of Theodore, supplemented with data from the Syriac. Išô`dâdh of Merv used Theodore as his primary source, but with the same kind of supplementary data from the Syriac.

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