scholarly journals An Academic Review of Anton LaVey’s Satanic Philosophy

2017 ◽  
pp. 1-25
Author(s):  
Dr. Gabriel Andrade
Keyword(s):  
Key Words ◽  
20Th Century ◽  
19Th Century ◽  
Cultural Movements ◽  
Academic Review ◽  
The 19Th Century ◽  
The Devil ◽  
The Church ◽  
The Way

Satan has been a changing character for the last 2500 years. For most of its history, the Devil was represented as God’s archenemy, the representation of absolute evil. By the 19th Century, this approach had begun to change with the Romantics, some of whom represented a more heroic character. In the mid-20th Century, in the mist of counter-cultural movements, the figure of Satan was once again apprehended by non-conformists. The most notorious of these was Anton LaVey, who founded the Church of Satan. This article reviews LaVey’s approach to the figure of Satan, some of the rituals and symbolisms associated with this movement, and the way LaVey used Satan as a way to represent his particular philosophical views. Key Words: Satanism, Anton Lavey, Church of Satan, Devil

scholarly journals HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS

2020 ◽  
pp. 21-21
Author(s):  
Nataliya D. Antropova
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Artistic Creativity ◽  
Mural Paintings ◽  
French Culture ◽  
History Of ◽  
Religious Painting ◽  
The 19Th Century ◽  
The Church ◽  
Philosophical Nature

The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.

scholarly journals THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)

ASJ. ◽  
2021 ◽  
Vol 1 (50) ◽  
pp. 4-9
Author(s):  
M. Harutyunyan
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Adam And Eve ◽  
Theatrical Performances ◽  
Girls School ◽  
Almost All ◽  
Private Homes ◽  
The 19Th Century ◽  
The Devil ◽  
Different Parts

Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the Mkrtich Khandamiryan Theater was built in Shushi in 1891. It had a 350-seat hall.  Separate issues related to the socio-economic, political and cultural events in Artsakh were covered in almost all issues of the three-day literary-social newspaper "Karabakh". Covering the theatrical art of Artsakh in 19111912, the newspaper emphasized that the theater continued to flourish in that period. Theatrical performances took place in different parts of Artsakh. A number of interesting and multi-genre theatrical performances took place at the Diocesan school of Shusha, at the Mariamyan girls 'school, at the Hripsimyan girls' school, at the school of the Saint Astvatsatsin church of Aguletsots, at the school of boys of the Saint Astvatsatsin church of Megretsots, at the Mariam-Ghukasyan school, at the school of Realakan. A number of interesting and multi-genre theatrical performances also took place at the Diocesan School of Shushi, at the Girls' School of Mariamyan, at the Girls' School of Hripsimyan, at the school of Aguletsots St. Astvatsatsin Church, at the Boys' School of Meghretsots St. Astvatsatsin Church, at the school of Mariam-Ghukasyan, at the school of Realakan, at kindergartens, in private homes of wealthy people and at other places at that time.  Numerous multi-genre performances also took place in 1911-1912: "Adam and Eve" Vardanank, " The savage", "The Charlatan", "Heart is a mystery", "Naughty", "The Valley of Tears", "The Engaged" drama, "Modern Heroes" comedy, famous playwright Gordin's drama "The devil", the drama "Christine", Nardos' drama "The Killed Dove", Measnitsky's drama "I died" and other performances. 

Două tehnici, un singur iconar: Savu Moga

Transilvania ◽  
2021 ◽  
pp. 91-96
Author(s):  
Alexandra Balan
Keyword(s):  
19Th Century ◽  
Good Condition ◽  
Restoration Process ◽  
Architectural Elements ◽  
Long Period ◽  
Single Piece ◽  
The 19Th Century ◽  
The Church ◽  
Artistic Talent ◽  
The Way

This article brings to attention the work of Savu Moga, a famous icon painter who lived and worked in the 19th century in Transylvania. His artistic talent was native and his greatest skills were revealed by his icons painted on glass, but he also painted icons on wood, a less known fact. Brâncoveanu Monastery from Sâmbăta de Sus, Brașov county, owns 10 icons painted on wood, which are in the process of restoration and research. The technique of painting on wood brings to Moga certain difficulties, which he tried to solve. Although the supports and techniques are different and the order of the stages is reversed, the style of work is very much alike. The colours, the way he writes, the vegetal and architectural elements and the faces of the characters are the same. Also the pigments and the binder used are the same for both types of painting. Regarding the conservation and restoration aspects, the icons that have been properly preserved are generally in good condition, which means he achieved his purpose. Those icons that were used in the church for a long period of time are much more degraded. Every single piece is carefully investigated and treated as a patient. After completing the restoration process of these icons we will have an overview on Savu Moga’s work on wood, compared to his work on glass. Untill then, we are sure of the value of his entire artwork.

scholarly journals Turkestan Diocese and Folk Orthodoxy: The Case of Life-Giving Spring

2020 ◽  
Vol 131 (2) ◽  
pp. 68-76
Author(s):  
Daniel Scarborough ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Local Population ◽  
Local People ◽  
Soviet Period ◽  
Documentary Evidence ◽  
Strict Control ◽  
The 19Th Century ◽  
The Church

Construction of the Church of the Icon of the Mother of God, “The Life-Giving Spring,” was completed in 2008. The church was built next to a small spring that has been venerated by the local population since the 19th century. A large number of coins from the 19th and 20th centuries were discovered in the bed of this spring. These coins serve as evidence that local people have venerated this spring throughout the imperial and Soviet periods. In the 19th century, the official Church imposed strict control over popular Orthodox traditions. Yet, at the beginning of the 20th century, the Turkestan Diocesan Committee decided to recognize the veneration of the spring. In the Soviet period, very little documentary evidence of this tradition was preserved, but this evidence suggests that popular Orthodox practices were far more widespread than commonly assumed.

scholarly journals Teuto-argentino, teuto-brasileiro, teuto-chileno: identidades em debate

2006 ◽  
Vol 31 (1) ◽  
Author(s):  
Arthur B. Rambo
Keyword(s):  
Ethnic Identity ◽  
Rural Communities ◽  
Key Words ◽  
20Th Century ◽  
19Th Century ◽  
First Generation ◽  
German Immigrants ◽  
Ambiguous Situation ◽  
The Future ◽  
The 19Th Century

Durante o século dezenove e no decorrer das primeiras décadas do século vinte, foram implantados projetos de colonização alemã no Brasil, na Argentina e no Chile. Apresentavam- se com semelhanças muito grandes nos três países, tanto nos objetivos, como no modelo de estrutura agrária, como na organização das comunidades rurais. Merece ser destacado neste processo a ocupação de grandes regiões mediante um povoamento maciço de exclusiva etnia alemã. Os imigrantes e seus descendentes das primeiras gerações permaneceram fiéis à língua e à tradição alemã. Na condição, porém, de cidadãos dos respectivos países foram sendo assimilados lentamente na sociedade maior que compunham a nação argentina, brasileira ou chilena. Desta situação ambígua, originou-se, a partir da década de 1930, uma discussão em todos os níveis, em torno da interrogação: Depois de duas, três ou até quatro gerações, o que somos, qual a nossa identidade, ainda somos alemães e em que sentido, até que ponto já somos chilenos, argentinos ou brasileiros? Ou, quem sabe nos resumimos a não sermos mais o que fomos e ainda não sermos aquilo que deveremos ser no futuro? Em outras palavras: o que entende o imigrante alemão no Chile quando se autodenomina de teuto-chileno, o imigrante alemão na Argentina, quando se denomina de teuto-argentino, ou o imigrante alemão no Brasil, quando se denomina teutobrasileiro? Abstract During the 19th century and the first decades of the 20th century, German colonization projects were implemented in Brazil, Argentina and Chile. These colonization projects were very similar in all three countries in terms of their goals, the model of agrarian structure and the organization of rural communities. This process of colonization was characterized by the massive occupation of large areas exclusively by Germans. The immigrants and their descendents of the first generation remained faithful to the German tradition. However, as citizens of those three countries they were slowly assimilated into the Argentine, Brazilian end Chilean societies. This ambiguous situation gave rise, since 1930, to a discussion at all levels focusing on the issue of identity: after two, three or even four generations, what are we? What is our identity? Are we still Germans? In which sense or to what extent are we already Chileans, Argentines or Brazilian? Or perhaps we are no longer what we used to be and are not yet what we should be in the future? In other words: When the German immigrants in Chile call themselves German-Chileans, when German immigrants in Argentina call themselves German-Argentines and when the German immigrants in Brazil call themselves German- Brazilians, what do they men by that? Palavras-chave: Identidade étnica e imigração. Identidades em transição. Alemães na Argentina, no Brasil e no Chile. Key words: Ethnic identity and immigration. Identities in transition. Germans in Argentina, Brazil, and Chile.

Ieskats latviešu valodas izloksnēs apzinātajos biezputru nosaukumos

2021 ◽  
pp. 23-33
Author(s):  
Brigita Bušmane ◽  
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
19Th Century ◽  
Daily Basis ◽  
Major Work ◽  
Folk Traditions ◽  
Points Of View ◽  
The 19Th Century ◽  
The Way

Porridge has long been one of the main dishes in the national diet. In the second half of the 19th century and the first half of the 20th century, porridges were not only cooked on a daily basis on farms but more often (more frequently barley groats or potato-cooked groats) were associated with folk traditions and cooked at the end of each major work, such as sowing, cuts, threshing, finishing of linen plucking or a larger fabric. The names of some porridges form very broad thematic vocabulary groups. Their characteristic feature is semantic branching, i.e. the use of the same products, similarity in the way of cooking, their external features determine that the same word is used to describe different porridges. In the article, the names of porridge have been examined mainly from the semantic and areal points of view. Insights are provided into names that include a reference to the source product of the food and names that reveal an activity related to the preparation or use of the food. Several of the names considered cover smaller or larger areas (e. g. klecene, studzene, pļepene). The designation of the raw product is usually included in the first component resp. in the first part of the compound name for porridge (for example, miltu biezputra ‘flour porridge’, putraimbiezputra ‘groat porridge’, azbara biezputra ‘id.’). A reference to an activity carried out during the preparation of food may reveal its relationship to the food in question, either directly (e. g. kultene ‘stirred porridge’, karseknis ‘heated porridge’) or indirectly (e. g. šķeterene ‘twisted porridge’). The considered material also provides evidence of porridge names from the word-formational, morphological and phonetical points of view. For example, derivatives with the suffixes -en-, -in-, -nīc- (lecene, pankšene, biezine, kultenīca) are widespread, prefixal derivatives (papļepene, sakratene) and compounds (puspļepene) are found, the stem change (kratene, kratenis) is observed, the interchange of the consonants s and š (studzene, študzene) has been fixed.

scholarly journals Heute wie vor hundert Jahren: Laufkäfer sind die Hauptbeute des Grossen Mausohrs (Myotis myotis) | Today and a hundred years ago: Carabid beetles are the main prey of the greater mouse-eared bat (Myotis myotis)

2006 ◽  
Vol 157 (8) ◽  
pp. 339-347
Author(s):  
Claude E. Steck ◽  
René Güttinger
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Carabid Beetles ◽  
Central European ◽  
Main Prey ◽  
The Past ◽  
Myotis Myotis ◽  
The 19Th Century ◽  
The Church

The faeces of an extinct colony of the greater mouse-eared bat,(Myotis myotis), were found in the church of Tegerfelden (NWSwitzerland)). The faeces could be dated to the end of the 19th century (around 1880). This find provided us with a unique opportunity to study the diet of the greater mouse-eared bat,and to compare the past and current diet of this species. Today,central European greater mouse-eared bats mainly hunt in forests, and carabid beetles (Carabidae) are their most important category of prey. In this study, we investigated whether this specialisation is caused by the changes to the landscape that took place during the second half of the 20th century, or if this bat species already exhibited a similar specialisation in the 19th century (loss of biodiversity, especially in open landscapes).

scholarly journals Become Boyan: The Arrival and Development of Baweanese in Singapore in the 19-20th Century

2019 ◽  
Vol 3 (2) ◽  
pp. 54
Author(s):  
Mohammad Farihan Aziri ◽  
Ahmad Wahyudi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Primary Sources ◽  
Early 20Th Century ◽  
Historical Method ◽  
Passenger Transportation ◽  
Mode Of Transportation ◽  
Transportation Routes ◽  
The 19Th Century ◽  
The Way

This article aimes to discuss the arrival and development of Baweanese people who called Boyan in Singapore in the 19-20th century. Boyan is a term for residents of Bawean Island in Singapore and Malaysia which occurs due to an error pronunciation. Baweanese people since the 19th century has visited Singapore to seek for a job. By using historical method with emphasize on the using primary sources, this research has been successfully reveal the motifs of Baweanese people migrated. In its development, Baweanese people who went to Singapore experienced a change of orientation. At the beginning of the 20th century, they preferred to settle in Singapore. The Baweanese’s migration to Singapore increased in the early 20th century after the use of steamers as their mode of transportation to go to Singapore. The emergence of mass passenger transportation routes from service agents using steam vessels has an impact on the mobility of Baweanese who migrate to Singapore. KPM's passenger agent is a catalyst for the growth and activity of Baweanese in Singapore. The aim of this stu is to explain when the Bawean people migrated to Singapore as well as the way they moved and settled in Singapore in the mid 19th century until the 20th century.

scholarly journals Influence of N. Gogol’s and M. Saltykov-Shchedrin’s Satire on Michail Bulgakov’s Prose

2016 ◽  
Vol 6 (1) ◽  
pp. 20
Author(s):  
Alexander Philippovich Petrenko ◽  
Svetlana Anatolyevna Petrenko ◽  
Irina Borisovna Fedotova
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Technical Progress ◽  
Rapid Development ◽  
Russian Literature ◽  
Mechanized Production ◽  
The World ◽  
The 19Th Century ◽  
The Way

The article is concerned with the study of literary relationships between the satire of the famous 20th-century Russian writer M. Bulgakov and the works by the Russian classics of the 19th century – N.V. Gogol and M.Y. Saltykov-Shchedrin. The article describes Gogol’s and Saltykov-Shchedrin’s influence on Bulgakov’s satirical poetics, especially in the period of his development as a writer. Special attention is given to the device of grotesque and the motives of mechanicalness and lifelessness, forming the artistic worlds of the writers under study. The authors note that the technical progress and the rapid development of mechanized production in the 20th century, combined with the satirical motive of primitivism, characteristic of Russian literature, left an imprint on the nature of Bulgakov’s grotesque. The writers at issue are united by such common feature of the satirical poetics as turning to fantasy, hyperbole, ‘strange and queer things’. The article shows the way Bulgakov perceived and embodied the principles of Gogol’s and Shchedrin’s world perception through the comic mixing of absurd, ghostly and real. Bulgakov’s way of seeing the world is characterized as ‘delirious reality’. At the same time, Bulgakov, as well as his literary teachers in the sphere of satire, showed oddness and divergence as regularity, while the comicality of fantasy in his works finally turns into the drama of reality.Keywords: satire, laughter, grotesque, mysticism, fantasy, zoomorphic metaphors

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