Bows and Arrows of the Greenland Thule Culture (1200–1900 AD)

2021 ◽  
Author(s):  
Sebastian J. Pfeifer

This book deals with the regional diversity and chronological development of the archery technology of the Thule culture in Greenland. For the first time, the archaeological and ethnographic material in the collections of the National Museum of Denmark is analyzed and presented. The volume contains a comprehensive catalogue and is richly illustrated.

2020 ◽  
Vol 1 (2) ◽  
pp. 95-102
Author(s):  
V. A. Aleksandrova ◽  

The article is devoted to the history of an unrealized performance of M. P. Mussorgsky’s opera "Khovanshchina" orchestrated by B. V. Asafyev. On the basis of archival documents, stored in the Russian State Archive of Literature and Arts, the Russian National Museum of Music, Central State Archive of Literature and Art of Saint Petersburg, the Bolshoi Theatre Museum, most of which are introduced into scientific circulation for the first time, studied the circumstances under which the opera was planned to be staged in the State Academic Theatre of Opera and Ballet (nowadays — the Mariinsky Theatre). Fragments from the reports of the Artistic Council of Opera at the State Academic Theatre of Opera and Ballet meetings, the correspondence between B. V. Asafyev and P. A. Lamm, the manuscript "P. A. Lamm. A Biography" by O. P. Lamm and other unpublished archival documents are cited. The author comes to the conclusion that most attempts to perform "Khovanshchina" were hindered by the difficult socio-political circumstances of the 1930s, while the existing assumptions about the creative failure of the Asafyev’s orchestration don’t find clear affirmation, neither in historical documents, nor in the existing manuscript of the orchestral score.


2021 ◽  
Vol 43 (5) ◽  
pp. 51-77
Author(s):  
André Prost ◽  
Alexi Popov

Investigation of a large collection of Neuroptera from Northeastern Nigeria stored untouched in alcohol for four decades in the National Museum of Natural History, Sofia, provided the opportunity to examine unpublished specimens and conduct a thorough review of published literature, establishing the first comprehensive inventory of Ascalaphidae, Palparidae, and Myrmeleontidae of Northeastern Nigeria to date. Specimens had been collected between 1976 and 1978 in Northeastern Nigeria, mostly in Jos City and Plateau State. Five species of Ascalaphidae, four of Palparidae, and 26 of Myrmeleontidae were identified. Bankisus beroni sp. n. and Creoleon nigrithorax sp. n. are described. Gymnoleon gaillardi is not considered a synonym of Gymnoleon exilis and a new synonymy is established: Gymnoleon externus (Navás, 1911) (= Gymnoleon gaillardi Navás, 1912, syn. n.). An examination of unpublished specimens in museum collections and an exhaustive literature review were conducted in order to draw up a comprehensive inventory of the fauna of Northeastern Nigeria, which to date comprises 11 species of Ascalaphidae, 12 species of Palparidae, and 34 species of Myrmeleontidae, of which one species of Ascalaphidae, two species of Palparidae, and 16 species of Myrmeleontidae, as well as the genera Brevibarbis, Bankisus, and Capicua, had not been reported to occur in Nigeria. The chorological information on the genus Bankisus is reviewed, the ranges of the species are critically discussed and corrected, and all known localities are indicated on a map. Bankisus oculatus is reported for the first time from the Democratic Republic of the Congo. The first recording of Centroclisis lineatipennis in West Africa is reported. Palpares cataractae and Palpares radiatus are deleted from the list of Nigerian fauna. With these new records, the known ranges of eight species are extended by more than 1400 km. In the process of assessing the geographical distribution of species present in Northeastern Nigeria, six species, as well as the genera Myrmecaelurus and Cueta and the tribe Nesoleontini, are reported for the first time from Burkina Faso.


2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.


Author(s):  
Agnieszka Lubera

A small but valuable collection of calendars was donated to the National Museum in Krakow in 1896, 1898 and 1906 by Ignacy Wolski, a Warsaw bibliophile. In the article an overview of these publications is given for the first time. The donation consists of calendars diverse in form and content, published from the end of the 18th century to the early 20th century. Only ten of them were found during the research in the Museum. Most of the preserved calendars was marked with characteristic provenance stamps or stickers;a part of them has some historical notes written by Wolski. They are a great testimony of the past. Wolski’s motifs and idea behind collecting calendars and leaving these publications for future generations in the Museum were also presented in the article.


Author(s):  
С.Б. Бардалеева

В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.


10.34690/120 ◽  
2020 ◽  
pp. 172-183
Author(s):  
Елена Марковна Шабшаевич

В статье рассматривается история конфликта выдающегося пианиста Василия Львовича Сапельникова с руководством Императорского Русского музыкального общества (в лице глав Петербургской и Московской дирекций - Цезаря Антоновича Кюи и Василия Ильича Сафонова) в 1903 году. Инцидент был вызван нарушением договоренности о неучастии Сапельникова в концертах Московского филармонического общества в случае заключения контракта с ИРМО. Посредником в переговорах стало немецкое концертное агентство Вольфа, которое устраивало данный ангажемент. Подробный анализ сложившейся ситуации стал возможен благодаря привлечению новых архивных источников из фондов Российского национального музея музыки - переписки непосредственных участников инцидента, которая впервые вводится в научный оборот. Ее анализ в комплексе с сопутствующими уже опубликованными материалами не только проясняет конкретные обстоятельства дела, но и позволяет воссоздать контекст концертной жизни русских столиц начала XX века - в частности, особенности менеджмента в условиях конкуренции филармонических организаций, институциональное положение артиста, степень юридического оформления его прав и обязанностей. The article deals with the history of the conflict between the outstanding pianist Vasily L. Sapelnikov and the Directorate of the Imperial Russian Musical Society (represented by the Heads of St. Petersburg and Moscow Divisions-Cesar A. Cui and Vasily I. Safonov) in 1903. The incident was caused by Sapelnikov's breach of condition of his non-participation in concerts of Moscow Philharmonic Society in case of signing a contract with Imperial Russian Musical Society. Wolff's Concert Agency, which arranged this engagement, became the mediator in the negotiations. A detailed analysis of the case was made possible by attracting new archival sources from the collections of the Russian National Museum of Music, i. e. the correspondence of participants of the incident, which is being introduced into scientific circulation for the first time. Its study and analysis, together with the accompanying published materials, not only clarify the specific circumstances of the case, but also allow us to reconstruct the context of the concert life of Russian capitals in the early 20 century-in particular, the features of management in the conditions of competing Philharmonic organizations, the institutional position of the artist, the degree of legal registration of his rights and duties.


Author(s):  
Edin Veletovac

Ever since it has been mentioned for the first time in the 19  century, the site of Mogorjelo has sparked the interest of the scholarship. Much of what we know today about this architectural complex is owed to Carl Patch who conducted a systematic archaeological research at this site from 1899 to 1903. Patch believed that  the discovered remains of the complex, in fact, represent a former Roman camp  or a castrum, one link in the system of Roman forts between the rivers Krka and  Neretva. He dated this camp to the period of the 1 st th  century which was restored in the second half of the 3 rd  century after being destroyed at the beginning of the 2  century. Scholars such as Bojanovski, Anthes, Swoboda, Duval and Špehar agreed with Patch that Mogorjelo was a military camp, but they rejected the 1  century as its date. The second group of scholars rejected this view and believe that this site was the center of a large agricultural estate with supporting facilities. When it comes to construction phases and dating, the majority of scholars agree that the remains, visible today in Mogorjelo, belong to the Late Antiquity period, more specifically the 4  century. However, their opinions differ in case of construction. Thus, some scholars, such as Basler and Vetters, believe that the first construction phase can be dated to the 1 th  century, whereas others believe that this phase took place somewhat later. st Although it has been more than one century since the discovery of Mogorjelo, we can assume that two basic requirements are necessary for obtaining a definite answer regarding its character and construction phases. The first requirement is the analysis and publication of over 150 crates of materials that Carl Patsch has dug out during the systematic research between 1899 and 1903. This material was sent to the National Museum in Sarajevo where it has been sitting in its depot ever since. An important drawback in the study of Mogorjelo is the lack of access to the logs compiled by Carl Patch, as well as his drawings, photographs and plans prepared from 1899 to 1903 that are being kept today in Südost-Institut in Munich. The unavailability of his excavation insights, remarks and notes represent a gap for all researchers who have dealt with Mogorjelo. Thus the second requirement is the publication of Patch’s materials which would enable all interested researchers to access his work and study this site.


2021 ◽  
pp. 90-114
Author(s):  
Е.Е. Прыткова ◽  
А.В. Сахарова ◽  
Н.В. Хорошилова

В статье впервые публикуется переписка Джакомо Пуччини и оперного режиссера Владимира Алексеева, ставшего одним из первых популяризаторов творчества композитора в России. Указанные письма впервые вводятся в научный оборот и таким образом дополняют корпус переведенного ранее эпистолярного наследия. В письмах, относящихся к 1913–1917 годам, затрагиваются разные аспекты творчества Пуччини, в том числе связанные с российской музыкальной культурой: постановка оперы «Девушка с Запада» в Москве, отклики на творчество Скрябина, Рахманинова и Стравинского, ситуация с постановкой опер Пуччини в Большом театре. Сканированные копии писем предоставлены для работы Российским национальным музеем музыки. С разрешения Музея в статье приводится фотокопия одного из писем Пуччини. This article is the first publication of the correspondence between composer Giacomo Puccini and opera director Vladimir Alekseyev, who became one of the first popularizers of Puccini’s work in Russia. It is the first time that these letters are introduced into scientific circulation and thus supplement the corpus of the previously translated letters of the composer. Letters from 1913 to 1917 touch upon various aspects of Puccini’s work, including those related to Russian musical culture, such as production of the opera La fanciulla del West in Moscow, responses to the works of Scriabin, Rachmaninov and Stravinsky, the situation with staging of Puccini’s operas at the Bolshoi Theater. Scanned copies of the letters are made available for work by the Russian National Museum of Music. With the permission of the museum, the article presents a photocopy of one of Puccini’s letters.


Nematology ◽  
2006 ◽  
Vol 8 (1) ◽  
pp. 21-44 ◽  
Author(s):  
Alexei V. Tchesunov ◽  
Jury R. Okhlopkov

Abstract A review and descriptions are given of some new or poorly known species of the family Selachinematidae mounted in glycerin on slides deposited in the nematode collection of the Smithsonian National Museum of Natural History, Washington DC, USA, namely: Cheironchus vorax; C. conicaudatus sp. n.; C. dactylocaudatus sp. n.; Gammanema uniformis (Cobb, 1920) comb. n., and Synonchiella hopperi. All species were found along the Atlantic coast of the USA. Species of the genus Cheironchus are characterised by details of the mandibles that may be significant for species discrimination within the genus. Three closely related species (Cheironchus vorax, C. paravorax and C. conicaudatus sp. n.) share a similar form, the mandibles consisting of an arm and two lateral palms with tiny hooks. The mandibles differ from one another in the presence/absence of a denticulate crest and in the number of palm hooks. The fourth species, C. dactylocaudatus sp. n., differs from the other three species by having vestigial mandibles devoid of palm hooks, presence of cheilostomatal sclerotisations and a tail with a posterior cylindrical portion. All three Cheironchus species studied possess extra-pharyngeal, longitudinal musculature around the anterior widening of the pharynx. This musculature evidently acts to protrude the mandibles beyond the oral aperture. An emended diagnosis of the genus Cheironchus is provided. Gammanema uniformis comb. n. is recorded and described for the first time since the original publication under the name Trogolaimus uniformis Cobb, 1920. The genus Trogolaimus is regarded as a junior synonym of Gammanema. Synonchiella hopperi is redescribed with a brief discussion of its unique feature – an unpaired copulatory spicule.


1923 ◽  
Vol 3 (1) ◽  
pp. 21-23 ◽  
Author(s):  
R. E. M. Wheeler

The beaker here illustrated is new only in the sense that it is now for the first time accessible. It was discovered some years before 1901 by a farm boy in a stone cist in the yard of Llancaiach Isaf, an old farm-house in the parish of Gellygaer, 12 miles north of Cardiff (O.S. 6 inch, Glamorgan XIX. S.E.). The cover-slab of the cist then, and until the present year, was level with the paving of the yard, and no traces of a mound survived. Within the cist were found the beaker, a skull, and, it is said, some ‘ornaments’, of which nothing is now known. The skull was seen by a local medical man, but was then, by order of the landowners, replaced with the beaker in the cist. From that time, according to the (then) tenant of the farm, the burial remained undisturbed until 25th June 1901, when a local resident, Mr. George Seaborne, who has greatly assisted my inquiries, reopened the cist and drew attention to it in the Western Mail newspaper (19th July 1901). The contents, however, were not removed, and the precise locality of the burial remained the close secret of one or two persons until the present year, when cist, beaker, and skull were removed to the National Museum of Wales.


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