Historical and demographic features of the formation of the marriage market of the Ukrainian population in the first half of the 19th century

2020 ◽  
Vol 2020 (10-2) ◽  
pp. 261-277
Author(s):  
Olena Borodenko

The article examines the problems of the marriage and market relation formation of the Ukrainian rural society on the example of the village of Nikolaevka in the Romny district in the Poltava province in the first half of the 19th century. For the first time, on the materials of church and parish documentation of the Ukrainian population registers of births, marriage searches and confessional signatures, the method for determining newlyweds' residence, developed by French scientists L. Henri and A. Blum, were tested, and the historical and demographic features of the marriage market were disclosed.

Kulturstudier ◽  
2010 ◽  
Vol 1 (2) ◽  
pp. 64
Author(s):  
Else Marie Kofod

<p>Et samfunds &aelig;gteskabsideal aff&oslash;der nogle mere eller mindre uskrevne regler for,&nbsp;hvad der er tilladt og - m&aring;ske is&aelig;r - hvad der ikke er tilladt med hensyn til udenoms&aelig;gteskabelige&nbsp;forhold. Det var ogs&aring; tilf&aelig;ldet i 1800-tallets bondesamfund,&nbsp;hvor det at indlede et seksuelt forhold til en anden person end den, man var forlovet&nbsp;eller gift med, ikke alene kunne v&aelig;re en trussel for de enkelte par, men for&nbsp;hele landsbyf&aelig;llesskabet. Seksuelle emner er ofte tabubelagte. I denne artikel vil&nbsp;jeg vise, hvordan bondesamfundets seksualmoral blev kommunikeret igennem&nbsp;s&aring;vel omgangsformer, ritualer og traditioner som igennem sagn om bjergfolk og&nbsp;ellefolk.</p><p>&nbsp;</p><p>Tales of seduction and sexual moralityin 19th-century rural society.</p><p>The marital ideal of a society generates certain more or less unwritten rules forwhat is permissible and - perhaps especially - impermissible in terms of extramaritalrelations. This was also the case in the rural society of the 19th century,where engaging in a sexual relationship with someone other than the person to whom you were married or betrothed could be a threat not only to the individual couple but to the whole village community. Although the village community in 18th-century rural society underwent a number of changes in the course of the century, it was apparently still important to strengthen the authority of the community or at any rate to give the appearance that it existed. The community in the rural village meant not just something communal in general, but a particular way of performing certain communal actions, including - and perhaps especially - certain social conventions. More fundamentally,'community' therefore refers to the farmer-dominated village's culturally protected norm for what was right and wrong.Besides the norms that were communicated through the unwritten socialconventions,&nbsp;one could also express what was right and wrong through the stories that were told. In the tales it was also possible to engage with sexual themes.The tales that are most relevant in this study are legends of mountain spirits andelves, where human beings engage in some kind of interaction with the supernatural beings. There are a good 300 of these legends. Looking at the consequences such relations could have for the protagonists of the legends enables us to gain insight into how extramarital relations were regarded in rural society. In 19th-century rural society the norms of the village for sexual morality were thus communicated both through games and traditions and through the tales thatwere told of mountain spirits and elves. Both forms of expression involved acommon set of principles for the members of the village community, and laiddown guidelines for the way one was to handle relations with other people ineveryday life.</p>


Author(s):  
Aleksandr V. Trofimov ◽  
Valentina V. Chaikina

The article considers the issue of preserving an authentic tradition. It is the rite of veneration of the icon of the Archangel Michael which has been observed in the village of Ishimka in Bolsheuluisky district of Krasnoyarsk Krai until recently. The narration of this rite by Maria Illarionovna Rantseva was recorded during a folklore expedition in 2012. She also sang a spiritual verse about the Archangel Michael, which was performed in the context of the rite of veneration of his icon. It is for the first time that this material is given a focus of analysis in our research, the fact proving its relevance and scientific novelty. Since the Russian folklore tradition is currently rapidly fading, the materials recorded from Maria Illarionovna Rantseva are priceless. The Archangel Michael is one of the most beloved representatives of the Heavenly world by the Russian people. He is considered the main archangel. In Hebrew his name means “like God”. In Orthodoxy he is called the Archistratigus, since he is the head of the Heavenly host of angels and archangels. In addition, the Archangel Michael is regarded as the patron saint of travellers. In Russia, the Archangel Michael was also prayed for help in moving to a new place of residence. Many Russian churches are named after the archangel, and every church has icons with his image. In Russian iconography, there are many local schools. The icon of the Archangel Michael, which is regarded in this article, was written by a master of the Belarusian school of iconography. At the beginning of the 20th century, this icon was moved by the peasants of one of the Belarusian villages to the Siberian village of Ishimka. The rite of veneration of the icon of the Archangel Michael was preserved in this village until the beginning of the 19th century


This is a comprehensive, illustrated catalogue of the 200+ marine chronometers in the collections of Royal Museums Greenwich. Every chronometer has been completely dismantled, studied and recorded, and illustrations include especially commissioned line drawings as well as photographs. The collection is also used to illustrate a newly researched and up-to-date chapter describing the history of the marine chronometer, so the book is much more than simply a catalogue. The history chapter naturally includes the story of John Harrison’s pioneering work in creating the first practical marine timekeepers, all four of which are included in the catalogue, newly photographed and described in minute detail for the first time. In fact full technical and historical data are provided for all of the marine chronometers in the collection, to an extent never before attempted, including biographical details of every maker represented. A chapter describes how the 19th century English chronometer was manufactured, and another provides comprehensive and logically arranged information on how to assess and date a given marine chronometer, something collectors and dealers find particularly difficult. For further help in identification of chronometers, appendices include a pictorial record of the number punches used by specific makers to number their movements, and the maker’s punches used by the rough movement makers. There is also a close-up pictorial guide to the various compensation balances used in chronometers in the collection, a technical Glossary of terms used in the catalogue text and a concordance of the various inventory numbers used in the collection over the years.


2016 ◽  
Vol 3 (2) ◽  
pp. 3 ◽  
Author(s):  
Mara Calvini ◽  
Maria Stella Siori ◽  
Spartaco Gippoliti ◽  
Marco Pavia

The revised catalogue of primatological material stored in the Museo Regionale di Scienze Naturali of Torino and in the Dipartimento di Scienze della Vita e Biologia dei Sistemi of the Università degli Studi di Torino and belonging to the historical material of the Torino University is introduced. The material, 494 specimens belonging to 399 individuals of 122 taxa, is of particular importance since specimens were mainly obtained during the 19th Century and the beginning of the 20th Century. A relevant part of the collection was created by the collaborators of the Museum, among which it is worth to mention F. De Filippi, A. Borelli and E. Festa, while other material came from purchases and donations from private people or the Royal Zoological Garden of Torino. Great part of the specimens is stuffed but also the osteological materials are of particular importance, as many of them derived from the specimens before being prepared and consisting of skulls or more or less complete skeletons. After this revision, the Lectotype and Paralectotypes of <em>Alouatta</em> <em>palliata</em> <em>aequatorialis</em> have been selected, and the type-specimen of the <em>brunnea</em> variety of <em>Cebus</em> <em>albifrons</em> <em>cuscinus</em> has been recognized. In addition, some specimens of particular historical-scientific importance have also been identified and here presented for the first time.


2020 ◽  
Vol 5 (1) ◽  
pp. 17-32
Author(s):  
JOS BAZELMANS

The windmill. The origins of a Dutch icon The windmill is an icon of the Netherlands. But when did this instrument acquire this symbolic role at home and abroad? After all, mills are also common outside of the Netherlands. In this essay, it is argued that during the second half of the 19th century, foreigners systematically identified the Netherlands and the windmill for the first time. More than in other countries, there was a varied use of mills in the Netherlands, large and robust mills and clusters of industrial mills. Within the Netherlands itself, development towards an iconic position is only visible around the turn of the century when the mill turned out to be a plus in tourist recruitment abroad and when mills were slowly disappearing from the landscape.


2017 ◽  
Vol 57 (2) ◽  
pp. 33-50
Author(s):  
Jernej Kosi

The article analyses the process involved in the formation of the idea to separate the "Slovenian" and "Croatian" national territory in the west of the Kingdom of Hungary. The concept was initially articulated as a linguistic premise in the works written by the famous linguist Jernej Kopitar, who understood the territory of the today's Prekmurje region as an area where Slovenian language was spoken. As of the middle of the 19th century, Kopitar's classification had been appropriated by the Slovenian national movement, which presupposed that the speakers of the Slovenian language in the Kingdom of Hungary were also members of the envisioned Slovenian community. In this context the Slovenian linguistic – national border was, in the middle of the 19th century, depicted on a map for the first time (Peter Kozler). In just a few decades, the idea of the national demarcation line in the today's Prekmurje, supposedly separating Slovenians from Croats at the river Mura, had strengthened considerably among the Slovenian national activists in the Cisleithanian lands. After the dissolution of Austro-Hungary and the signing of the Treaty of Trianion, this line in fact became a border between the Slovenian and the neighbouring Croatian national space. 


Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė

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.


2018 ◽  
Vol 29 (4) ◽  
pp. 413-422
Author(s):  
A. M. Olenich ◽  
A. M. Olenich

The paper introduces materials from the archaeological excavations on the territory of the village of the 16th—19th centuries Mykilska Slobidka. The village has not been subject to systemic archaeological excavations before. In 2016—2018 we carried out the investigating in different parts of the village. It was fixed that despite the modern urban development, the cultural layer was preserved in some parts of the village. Obtaining materials indicate the existence of pottery production there. The most interesting is the ceramic collection associated with the pottery complex of the beginning of the 19th century. The collection allows us to characterize the assortment of the pottery manufacturing in the Mykilska Slobidka village in the first half of the 19th century. Among the typical products of the workshops were pots decorated with white and red engobe painting, jugs, bowls, lids, mugs, flowerpots, bricks and probably tiles etc. It is interesting that there are no pottery clay deposits in the vicinity of the village. So it is possibly the clay was brought from other villages, may be on the other (right) bank of the Dnieper River.


Ritið ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 43-68
Author(s):  
Gunnar Tómas Kristófersson

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth’s and Fernanders’ equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó”) was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.


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