scholarly journals Lomber, spaddilía, basti, ponti ...: Um nokkur spænsk spilaorð í íslensku

Orð og tunga ◽  
2015 ◽  
Vol 17 ◽  
pp. 27-43
Author(s):  
Erla Erlendsdótt ir
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The South ◽  
Loan Words ◽  
The North ◽  
The 19Th Century

At the end of the 19th and the beginning of the 20th century the cardplay l’hombre was very popular in Iceland. This play probably came to Iceland from Denmark around the middle of the 19th century. This paper deals with some words which belong to his game and are of Spanish origin as well as the game itself. These Spanish loan-words have travelled from the south to the north through French and Danish until entering Icelandic. Many of the words are still used when the game is played; words like, for example, basti, spaddilía, manilía, matador, koðradilla, ponti, as well as the name of the cardplay, lomber.

Turkish-Dagestan Relations in the Light of the Russian Policy of Deterring the Population of the Dagestan Region from Resettling in Turkey (II Half of the 19th - Early 20th Century)

2020 ◽  
pp. 50-54
Author(s):  
T.Ch. Dzhabaeva
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Early 20Th Century ◽  
North Caucasus ◽  
The North ◽  
The 19Th Century

The article analyzes Turkish-Dagestani relations in the light of the policy of the Russian administration in the province. The reasons for the growth of Pro-Turkish orientation among the population of Dagestan in the second half of the 19th century, the policy of the Porte in this matter, and its decline by the beginning of the 20th century are noted. The author examines the complex of actions of the Tsarist administration to restrain the Dagestani population from resettling in Turkey-from conducting explanatory conversations with those who wanted to relocate and monitoring the relocation “through their fingers”, to direct prohibitions. The features of the migration movement of representatives of the peoples of Dagestan that distinguished it from the migration movement among other peoples of the North Caucasus are revealed.

scholarly journals ЗАГАДКИ СИБИРСКОЙ КОЛЛЕКЦИИ КРАКОВСКОГО ЭТНОГРАФИЧЕСКОГО МУЗЕЯ

2020 ◽  
pp. 83-102
Author(s):  
Юрий Николаевич Квашнин ◽  
Анджей Дыбчак ◽  
Яцек Кукучка
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Western Siberia ◽  
Birch Bark ◽  
The Urals ◽  
The North ◽  
Animal Bones ◽  
Almost All ◽  
The 19Th Century ◽  
Made In

В статье рассмотрены два предмета из Сибирской коллекции Краковского этнографического музея – женская шуба из оленьего меха и шапка из шкуры росомахи. В ходе исследования удалось выяснить имя дарителя – Исидора-Александра Собанского, сосланного в Сибирь участника Польского восстания 1863 г. Была обнаружена не известная ранее специалистам литография русского художника В.Д. Сверчкова, изображающая, в частности, женскую шапку и шубу, схожие с рассматриваемыми предметами из собрания Собанского. Установлено, что шапки из шкур росомахи были повседневным головным убором ненецких женщин на всем пространстве расселения этого этноса. Иногда такие шапки носили шаманы. Кроме того, сегодня известно, что женские шубы, аналогичные тем, что носили ненцы Канинского п-ова, до начала XX в. бытовали также в Приуралье и в низовьях Оби, куда их привозили из-за Урала невесты. В статье также затронуты малоизученные темы польских ссыльных в Западной Сибири и изображения ненцев в работах русских и зарубежных художников. Благодаря ссыльным, вернувшимся на родину из Сибири, в Польшу попали предметы, составившие основу Сибирской коллекции музея. Она насчитывает более 350 экспонатов, среди которых одежда, обувь, головные уборы, изделия из бересты, меха, кожи и костей животных. Почти все вещи были изготовлены в XIX в. разными народами Севера и Сибири – ненцами, селькупами, эвенками, эвенами, чукчами, коряками, алеутами. Two objects from the Siberian collection of the Krakow Ethnographic Museum are discussed in the article – a women’s fur coat from deer fur and a hat from wolverine skin. In the course of the study, the name of the donor was found out – Isidor-Alexander Sobansky, a Polish rebel of 1863, exiled to Siberia. A previously unknown to specialists lithography by the Russian artist Vladimir Sverchkov was discovered; it depicts a woman’s hat and a fur coat similar to objects from the Sobansky collection. It is known that hats from wolverine skins were part of everyday clothes of Nenets women throughout the territory of the Nenets settlement. Sometimes they were worn by shamans. The article proves that until the beginning of the 20th century women’s fur coats of the Nenets of the Kaninsky peninsula were also worn in the Urals and in the lower Ob, having been brought there by brides. In addition, the article touches on poorly studied topics of the Polish exile in Western Siberia and the depiction of the Nenets in the works of Russian and foreign artists. Thanks to the exiles who returned to their homeland from Siberia, the items that formed the basis of the Siberian collection came to Poland. The collection contains more than 350 items, including clothing, footwear, hats, products from birch bark, fur, leather and animal bones. Almost all of them were made in the 19th century by different peoples of the North and Siberia  – Nenets, Selkups, Evenks, Evens, Chukchi, Koryaks, Aleuts.

scholarly journals José Enrique Rodó: The Birth of Latin America Out of Spiritual Revolt

2019 ◽  
Vol 5 (1) ◽  
pp. 182-200
Author(s):  
Hans Schelkshorn
Keyword(s):  
Latin America ◽  
20Th Century ◽  
19Th Century ◽  
South American ◽  
Anglo Saxon ◽  
The South ◽  
Jose Vasconcelos ◽  
Greek Culture ◽  
Jose Enrique Rodo ◽  
The 19Th Century

Abstract In the second half of the 19th century positivism became the official state doctrine of many countries in southern America. Around 1900, however, the authoritarian positivistic regimes were increasingly criticized due to their cultural imitation on the Anglo-Saxon world and the atheistic ideology. In this context, José Enrique Rodó, a poet and philosopher of Uruguay, called for a critical and creative re-adoption of the “Latin” roots of southern America, specifically Greek culture and early Christianity. In his essay “Ariel” (1900), Rodó sparked a spiritual revolt that especially affected the youth of the whole continent. In contrast to Nietzsche but on the basis of secular reason, Rodó defended a religion of love, which inspired important philosophies in the 20th century, from José Vasconcelos and Antonio Caso to the theologies and philosophies of liberation. Thus, “Latin America” as a self-designation of the South American peoples was essentially inaugurated through the spiritual revolt initiated by José Enrique Rodó.

scholarly journals Yurak-Samoyeds: Problems of Ethnic Identification

2021 ◽  
pp. 250-266
Author(s):  
Yuriy N. KVASHNIN ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Western Siberia ◽  
17Th Century ◽  
Ethnic Composition ◽  
Ethnic Identification ◽  
Tax System ◽  
Active Resistance ◽  
The North ◽  
The 19Th Century

The article is devoted to the poorly studied problem of the origin of the name Yuraki, which the Russians, as well as the Enets and Nganasans, called the group of the Samoed-speaking population that wandered along the northern outskirts of Western Siberia in the 17th — first half of the 20th century. On the basis of published and unpublished archival materials, information from the works of Russian and foreign scientists, as well as dictionaries of the peoples of the North, we attempted to identify the ethnic composition of the Yuraks, the boundaries of their settlement, determine the chronological framework for the emergence and existence of this name and clarify its origin. The research has resulted in a number of reasonable conclusions and assumptions. The name Yuraki appeared in the 17th century, when the tax policy of the tsarist administration in the north of Western Siberia provoked active resistance of certain groups of the nomadic Samoyed population. Russians called the Yoraks / Yuraks nomadic in the deep tundra, who did not pay a permanent tax, tundra and forest Nenets and Enets, as well as a mixed Nenets-Enets group. This name comes from the Nenets word Yor meaning "depth". By the 19th century, the Nenets of the Yenisei province began to be called Yuraks, regardless of the tax system. In the Soviet household documents of the Dolgan-Nenets National District, this name appeared until the middle of the 20th century.

scholarly journals ESTRUTURAS DOBRADAS DO QUADRILÁTERO FERRÍFERO EM PERFIS GEOLÓGICOS DO SÉCULO XIX

2013 ◽  
Author(s):  
Maria Márcia Magela Machado ◽  
Friedrich Ewald Renger ◽  
Úrsula Azevedo Ruchkys
Keyword(s):  
19Th Century ◽  
Special Interest ◽  
Rio De Janeiro ◽  
Considerable Progress ◽  
The South ◽  
Mining Engineer ◽  
The North ◽  
Folded Structure ◽  
Quadrilátero Ferrífero ◽  
The 19Th Century

Na primeira metade do século XIX houve um acréscimo significativo de conhecimento sobre a geologia doQuadrilátero Ferrífero advindo do trabalho de naturalistas-viajantes e de especialistas europeus em exploraçãomineral que empreenderam pesquisas nesta região. Merecem atenção especial, principalmente, os trabalhosde Virgil von Helmreichen e Aimé Pissis pelo cunho prioritariamente geológico. As memórias geológicasde Helmreichen, geólogo e engenheiro de minas austríaco, incluem um perfil não retilíneo entre a cidadedo Rio de Janeiro e o rio Santo Antônio no sertão do São Francisco. Na região do Quadrilátero Ferrífero, odetalhamento do acamamento entre Tejuco e Caeté registra a estrutura dobrada conhecida hoje como Sinclinalde Gandarela. Pissis publicou em 1848 sua Mémoire sur la position géologique des terraines de la partieaustrale du Brésil; entre as pranchas que acompanham a publicação está um perfil geológico de cerca de12km que detalha o acamamento entre o Pico do Itacolomi, ao sul, até a Serra de Antônio Pereira, ao norte. Arepetição das camadas com inversão do mergulho de sul para norte caracteriza claramente o dobramento doAnticlinal de Mariana; um avanço considerável sobre as seções apresentadas por Eschwege em 1811 e 1816. ABSTRACT: During the first half of the 19th century a significant amount of geological knowledge concerning theQuadrilátero Ferrífero was produced by European naturalists and travellers as well as experts in mineralexploration. Among them the work of Virgil von Helmreichen, an Austrian geologist and mining engineer,and the French naturalist Aimé Pissis are of special interest. The memories of Helmreichen include a profilefrom Rio de Janeiro in the South to the Rio Santo Antonio in the interior of the São Francisco river basinto the North, passing over the Quadrilátero Ferrífero. Near Caeté it shows clearly the inversion of the dipof bedding, indicating a folded structure, today known as Gandarela Syncline. Pissis published in 1848 hisMémoire sur la position géologique des terraines de la partie australe du Brésil; one of the accompanyingfigures represents a 12km-section between the Itacolumi Peak in the South and the Serra de Antonio Pereirato the North, which details bedding and dip of rocks. Repetition of strata with inversion of the dip caracterizesclearly the folded structure of the Mariana Anticline, showing both examples a considerable progress comparedwith the sections of von Eschwege from 1811 and 1816.

scholarly journals MUSEUM PUBLICATIONS OF THE SECOND HALF OF THE XIX – EARLY XX CENTURY IN THE RESEARCH OF NATIVE SCIENTISTS

2021 ◽  
pp. 74-79
Author(s):  
Nataliia Cherhik
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
21St Century ◽  
Russian Empire ◽  
Soviet Period ◽  
The South ◽  
Long Time ◽  
The Russian Empire ◽  
The Moment ◽  
The 19Th Century

The article presents publications of the late 19th – early20th centuries, in which museum materials of Ukrainian originare studied and published. This refers to museum catalogs,albums and reports. The purpose of this article is to trace thedynamics of the use of these publications in scientific researchof colleagues during the late 19th – early 21th centuries. Theproposed analysis proved the fact that museographicpublications have acted an important role in scientificresearch for a long time, starting from the moment they werepublished until the present time. It was also found that as ahistorical source, museography was emphasized in threedirections: the basis for conclusions about historical facts; thefoundation for the protection of objects of history and museumresearch; and for museum attribution work. The context of theuse of museum publications has changed. In the 19th century,they were used to show the development of museums in thesouth of the Russian Empire. In the Soviet period, "prerevolutionary" museum publications were perceived as tracesof "bourgeois science." Modern researchers consider museumcatalogs, albums, reports of the late 19th – early 20th centuries as one of the aspects of themanifestation of the process of national revival in Ukraine at the frontier of the century. It was alsonoted that at the end of the 19th and throughout the 20th century, publications of archaeologicalcollections were more popular, especially materials found in the south of Ukraine. In the 21st century,the attention of researchers was attracted by materials from the period of the Cossacks. In general,there was a stable interest in Ukrainian museum publications of the late 19th – early 20th centuries.

scholarly journals The Canzone Napoletana Phenomenon in the reflection of scientific critical thought

2020 ◽  
Vol 21 (21) ◽  
pp. 98-112
Author(s):  
Fuyin Yang
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Decisive Role ◽  
Common Denominator ◽  
The South ◽  
Weak State ◽  
The Subject ◽  
The Mediterranean ◽  
The 19Th Century ◽  
Historical Past

Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.

scholarly journals Etymology and Historiography of the Ukrainian Headscarf as an Element of National Dress

2021 ◽  
Vol 4 (2) ◽  
pp. 254-264
Author(s):  
Olena Ivanenko
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Historical Method ◽  
The North ◽  
Production And Distribution ◽  
Characteristic Features ◽  
The 19Th Century ◽  
The Village ◽  
The City ◽  
North Western

The purpose of the article is to find out the peculiarities of headscarves functioning in the late 19th – early 20th centuries as an element of women’s national dress, to identify general and specific characteristics of their manufacturing and methods of tying, to find out the etymology of the word "headscarf", to trace its relationship with the concept of "ubrus" and others similar in meaning. Research methodology. Using a comparative-historical method, we have explored the etymology of concepts related to Ukrainian women’s headwear. Using a historical-typological method, a cultural and art analysis of the study has been conducted. Scientific novelty. The etymology of significant concepts of Ukrainian headwear, namely "ubrus", "headscarf" and others, is thoroughly studied. Their characteristic features in different regions of Ukraine are noted. The methods of tying headscarves from the 19th to the early 20th century are analysed and presented, the characteristics of their production and distribution in the counties of Poltava province are marked. It is proved that in Poltava province at the end of the 19th century, there were two main ways of tying headscarves simultaneously: in the counties of the north-western part of the province, the method of tying a headscarf with a knot on the top of the head was common, and in the eastern part – with a knot on the neck. Conclusions. Everyday women’s headscarves were intended to cover, insulate and decorate the heads of married women. Patterned woven headscarves were distinguished by the local originality of the artistic solution. Festive headdresses of Ukrainian women differed in variety and elegance. Strict completeness is inherent in the forms of this integral part of the national costume as those that have been refining over many generations. At the end of the 19th century. the wimples, on which a lot of material was spent, were almost destroyed. Headwear of new shapes was becoming more practical, cheaper and lighter. "Starovytsky headscarves" give way to manufactured goods. At the beginning of the 20th century, headscarves became the most common headdress both in the city and in the village.

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