scholarly journals Urodzony Jan Dęboróg, dzieje jego rodu, głowy i serca, przez niego samego opowiadane a rytmem spisane przez W. S. – patriotyzm w gawędzie Władysława Syrokomli (Ludwika Kondratowicza)

2020 ◽  
pp. 79-88
Author(s):  
Magdalena Zaród
Keyword(s):  
Seventeenth Century ◽  
19Th Century ◽  
Oral Tradition ◽  
Point Of View ◽  
The Public ◽  
National Tradition ◽  
Average Person ◽  
The 19Th Century ◽  
First Time

Ludwik Kondratowicz (Władysław Syrokomla) represented a patriotic attitude towards his homeland.His works written in the years 1823–1862 were primarily an expression of the public moodin the middle of the 19th century. It was Syrokomla’s gentleman’s tale Born Jan Dęboróg, the Historyof His Family, Heads and Hearts, Told by Him Himself and Written Down in the Form of Rhythmby W. S., written in the years 1847–1851 and published for the first time in 1853, that reflected thatlocal/regional patriotism. For many years it remained in the shadow of the great legacy of the mostoutstanding representatives of Romanticism and was therefore underestimated.What is important in this tale is a tradition, with various events and customs related to it, datingback to the seventeenth century and continued till Syrokomla’s times. Apart from the defense ofpeasants, national tradition and patriotism, Syrokomla also emphasized his own views, so this taleis also a confession of the author’s faith. The popularity of Born Jan Dęborog was determined notonly by the personal tone of the tale saturated with a wistful feeling, but also by the manner in whichthe action is presented – from the point of view of the average person. Syrokomla consciously gaveup his role as the guide of the nation and immersed himself in the oral tradition, thanks to which heenjoyed the obedience and reverence of his people.

MASONIC TRACES IN DOSTOEVSKY’S LIFE AND WORKS FROM THE POINT OF VIEW OF THE WRITER’S THEOLOGY

2021 ◽  
pp. 305-338
Author(s):  
Nikolay N. Podosokorsky ◽  
Keyword(s):  
19Th Century ◽  
Boarding School ◽  
Point Of View ◽  
Small Church ◽  
Simple Fact ◽  
Christian Teaching ◽  
Brothers Karamazov ◽  
The 19Th Century ◽  
First Time ◽  
Early Novel

For the first time are here presented to Dostoevsky scholars new facts concerning the masonic environment of the writer, who starting from his education in Chermak’s boarding school in 1834–1837 cultivated close relations of friendship with masons, some of them initiated even in 1840s (Apollon Grigorev), when masonry in Russia was officially forbidden, but nevertheless underground meetings continued. Reasons are given in support to the hypothesis, expressed for the first time by Tatiana Kasatkina in the middle of 1990s, of the possibility for Dostoevsky to have been a mason during the 1840s. Whether or not, direct references to masons and masonic symbolic in Dostoevsky’s oeuvre are impossible to explain (Uncle’s Dream, The Humiliated and the Insulted, The Adolescent, The Brothers Karamazov) if one ignores his interest for masonic teaching. Moreover, the specific characteristic of Russian masonry in the last third of the 18th – beginning of the 19th century was the fact that it was not overly differentiated from Christian teaching and theology, however, masonry stood against Orthodox church for the simple fact of its existence, as it held itself as a “small church”. The analysis of Dostoevsky’s early novel White Nights is here undertaken with regard to masonic teaching on death and resurrection of man.

scholarly journals Jefrem Bojovic’s letters addressed to Nil Alexandrovich Popov

2021 ◽  
pp. 347-359
Author(s):  
Vladislav Puzovic
Keyword(s):  
19Th Century ◽  
Point Of View ◽  
Russian State ◽  
Church Life ◽  
Church And Society ◽  
State Library ◽  
The 19Th Century ◽  
First Time ◽  
Personal Collection ◽  
The Church

There are 19 unpublished letters written by latter bishop of Zica Jefrem Bojovic, preserved in The Manuscripts Department of The Russian State Library of Moscow. These letters, addressed to Nil Alexandrovich Popov, are part of a personal collection of this famous Russian scholar in the field of history and Slavic literature. Letters from this collection were written from 1874 until 1886, while Bojovic was a student at The Moscow Spiritual Academy and a professor in the Seminary of Belgrade. These letters are a great source for Bishop Jefrem?s biography, especially for understanding his relationships with Russia. They witness a sincere friendship with Popov, one of the most prominent people in relations between Serbs and Russians, during the second half of the 19th century. These letters are important in order to understand Bojovic?s point of view, regarding the issues of Serbian social, political and church life in the 9th decade of the 19th century. Serbian Government led Pro-Austrian politics during that period of time, which affected relationships within Serbian Church and society. The most significant consequence was an uncanonical replacement of the Serbian Metropolitan Mihailo (Jovanovic) and his hierarchy. Bojovic was the first source witness of these events, who was actively supporting Metropolitan Mihailo. During his studies in Russia, Jefrem Bojovic became a true lover of Slavs, which formed his further views. The mentioned documents were analyzed in this study for the first time, and they will hopefully enrich the biography of Jefrem Bojovic. This study should help us to understand better the occasions within the church, society and politics in Serbia during the ninth decade of the 19th century.

scholarly journals THE LATVIAN LANGUAGE IN THE LINGUISTIC LANDSCAPE OF DAUGAVPILS (THE MIDDLE OF THE 19TH CENTURY - TODAY)

2020 ◽  
Vol 6 (2) ◽  
pp. 320-336 ◽  
Author(s):  
Solvita Pošeiko
Keyword(s):  
Public Space ◽  
19Th Century ◽  
Public Information ◽  
Point Of View ◽  
Linguistic Landscape ◽  
Normative Documents ◽  
The Public ◽  
Republican Period ◽  
The Stability ◽  
The 19Th Century

This paper will focus on the LL of Daugavpils from a diachronic point of view in order to describe the usage of the Latvian language in the public space since the middle of the 19th century until today, as well as the socio-economic and political factors which influence the language situation. Research sources are old photos which depict legible signboards, and photos obtained during LL research 2013. The role of the Latvian language in public information increased during the first period of independence, when ideas of nationalism become widespread and the first normative documents about language usage were approved. However, the stability of Latvian as the main language of the public was only established during the first Latvian Republican period at the end of the 20th century, when the State Language Law was passed and implemented in linguistic practice. Currently, the linguistic landscape reflects the political, socio-pragmatic, and social identity motivations of the owners of public texts, but within the confines of the restrictions imposed by language laws.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

A Nabatean port on the Red Sea: note on the pottery finds from al-Qusayr (al-Wajh, Saudi Arabia)

2020 ◽  
Author(s):  
Caroline Durand
Keyword(s):  
Saudi Arabia ◽  
19Th Century ◽  
Red Sea ◽  
Point Of View ◽  
The Other ◽  
Trade Routes ◽  
Other Hand ◽  
Roman Egypt ◽  
Pottery Sherds ◽  
First Time

Al-Qusayr is located 40 km south of modern al-Wajh, roughly 7 km from the eastern Red Sea shore. This site is known since the mid-19th century, when the explorer R. Burton described it for the first time, in particular the remains of a monumental building so-called al-Qasr. In March 2016, a new survey of the site was undertaken by the al-‘Ula–al-Wajh Survey Project. This survey focused not only on al-Qasr but also on the surrounding site corresponding to the ancient settlement. A surface collection of pottery sherds revealed a striking combination of Mediterranean and Egyptian imports on one hand, and of Nabataean productions on the other hand. This material is particularly homogeneous on the chronological point of view, suggesting a rather limited occupation period for the site. Attesting contacts between Mediterranean merchants, Roman Egypt and the Nabataean kingdom, these new data allow a complete reassessment of the importance of this locality in the Red Sea trade routes during antiquity.

Bonobos

2018 ◽  
Keyword(s):  
19Th Century ◽  
Historical Data ◽  
Line Drawings ◽  
History Of ◽  
The 19Th Century ◽  
First Time

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.

scholarly journals Catalogue of the primatological collection of the Torino University

2016 ◽  
Vol 3 (2) ◽  
pp. 3 ◽  
Author(s):  
Mara Calvini ◽  
Maria Stella Siori ◽  
Spartaco Gippoliti ◽  
Marco Pavia
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Great Part ◽  
Type Specimen ◽  
Zoological Garden ◽  
Historical Material ◽  
The 19Th Century ◽  
First Time

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.

“Satisfied with the Ruins of Berlin”: The German Capital’s Image in Soviet Graphics of 1945

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Point Of View ◽  
The Public ◽  
Historical Justice ◽  
Public Consciousness ◽  
Post War ◽  
The One ◽  
First Time ◽  
The City

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.

De windmolen

2020 ◽  
Vol 5 (1) ◽  
pp. 17-32
Author(s):  
JOS BAZELMANS
Keyword(s):  
The Netherlands ◽  
19Th Century ◽  
Turn Of The Century ◽  
The 19Th Century ◽  
First Time ◽  
At Home

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.

Pinocchio e l’evoluzione

Revue Romane ◽  
2011 ◽  
Vol 46 (2) ◽  
pp. 282-293
Author(s):  
Margareth Hagen
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Public Debate ◽  
The Novel ◽  
The Public ◽  
Continuous Evolution ◽  
Narrative Interpretation ◽  
Theories Of Evolution ◽  
The 19Th Century ◽  
Pedagogical Literature

The first chapters of Carlo Collodi’s Pinocchio were printed in 1881, the same year as the publication of the novel I Malavoglia, Giovanni Verga’s masterpiece of verismo. While every critical reader of Verga’s realism has pointed out his particular narrative interpretation of evolution, Collodi’s has novel very seldom been connected to the theories of evolution, even if Darwin’s ideas were highly present in the public debate in Florence during the last decades of the 19th century. The reasons for this silence are primarily to be found in the genre of Pinocchio, in the fact that it is children literature, and therefore primarily related to the narrative mechanisms of the fairy tales and pedagogical literature. Focusing on Pinocchio, the article discusses to which degree Darwinism can be traced in Collodi’s literature for children, and questions if the continuous metamorphoses of Pinocchio can be read also in connection with the naturalist conception of the literary characters as unstable, in continuous evolution, and not only as part of the mechanisms of fairy tales and mythological narratives.

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