Plurality and Diversity: The Profile of a Medieval Library

2016 ◽  
Author(s):  
Konrad Hirschler
Keyword(s):  
Incomplete Information ◽  
20Th Century ◽  
Early 20Th Century ◽  
Spatial Organisation ◽  
Alphabetical Order ◽  
The Third ◽  
Insight Into

The third chapter discusses one of the most intriguing aspects of this document, its system of ordering books. Our knowledge of medieval library systems has hitherto been confined to small collections and thus rudimentary systems or incomplete information in narrative sources. The chapter shows the highly-developed system for organising books according to three parameters, alphabetical order of titles, size of the books and their themes. In contrast to the highly philosophical schemes of how to organise and hierarchise the various learned branches of knowledge (such as those by al-Ghazali and al-Kindi) this library gives a very different insight into how knowledge was organised on a practitioner’s level. The organisation of the library, in addition to several other features of the catalogue, allows also an understanding of the spatial organisation of the library (the actual building was destroyed in the early 20th century). We do not have any study of the spatial aspects of a medieval Arabic library yet and the chapter offers the first exploration of this theme.

Folklorism and the Chronotope in the Works of Komitas

10.34690/03 ◽  
2019 ◽  
pp. 166-175
Author(s):  
А.И. Демченко
Keyword(s):  
20Th Century ◽  
National Character ◽  
Early 20Th Century ◽  
Deep Insight ◽  
Time And Space ◽  
Artistic Value ◽  
Perception Of Time ◽  
The Times ◽  
Insight Into

Будучи одним из самых самобытных музыкантов начала ХХ века, Комитас претворил в своем искусстве ряд характерных для этого времени художественных идей, наиболее примечательные из которых связаны с музыкальным фольклоризмом и с понятием хронотопа. Блистательное композиторское мастерство Комитаса выводило его очень далеко за пределы привычных представлений о жанре фольклорной обработки. Глубокое проникновение в дух и законы родной музыкальной речи позволяло ему широко применять методы полифонической обработки народных мелодий, активно развивать фактуру сопровождения, которая в ряде случае приобретала самостоятельную художественную ценность. Самобытность песен и хоров Комитаса в ряде случаев определяется связью с восточным миросозерцанием, для которого в сравнении с европейским менталитетом характерно особое восприятие времени и пространства. При этом наибольший интерес представляют те образцы, где раскрывается сопричастность к категориям всеобщей материи и вечности. Особенно широко представлено в творчестве Комитаса погружение в природную сферу с растворением в ней человеческого начала. Восхождение к надвременным категориям композитор чаще всего совершает, когда делает основой сочинений фольклорные мелодии, пришедшие из толщи времен и запечатлевшие в себе устойчивые, коренные черты народного характера. Особым достижением Комитаса является то, что он не ограничивается претворением пантеистического и надвременного как отдельных сущностей. В ряде сочинений композитор дает их в соединении, чему опять-таки способствовали особенности восточного понимания хронотопа. Being one of the most original musicians of the early 20th century, Komitas has put into his art a number of typical for this time of artistic ideas, the most notable of which are associated with the musical folklorism and with the concept of the chronotope. His brilliant compositional skills took him far beyond the usual ideas about the genre of folklore processing. A deep insight into the spirit and laws of his native musical speech allowed him to widely apply the methods of polyphonic processing of folk melodies, actively develop the texture of accompaniment, which in some cases acquired an independent artistic value. The identity of Komitass songs and choirs is in some cases determined by the connection with the Eastern worldview, which is characterized by a special perception of time and space in comparison with the European mentality. At the same time, the most interesting are the samples, which reveal participation in the categories of universal matter and eternity. Especially widely represented in the works of Komitas deep immersion in the natural sphere with the dissolution of the human principle in it. The ascent to supra-temporal categories the composer often does, when making the basis of the works of folk tunes, came from strata of the times and depicting in a sustainable, indigenous features of the national character. A special achievement of Komitas is that it is not limited to the implementation of the pantheistic and supra-temporal as separate entities. In a number of works the composer gives them in conjunction, which again contributed to the features of the Eastern understanding of the chronotope.

scholarly journals Unrealism in russian prose of early 20th century

2020 ◽  
Vol 6 (Extra-C) ◽  
pp. 75-85
Author(s):  
Elena V. Astashchenko
Keyword(s):  
20Th Century ◽  
Social Pressure ◽  
General Concept ◽  
Early 20Th Century ◽  
Second Person ◽  
The Third ◽  
The Past ◽  
Third Person ◽  
The Third Person ◽  
Imperative Mood

  The aim of the article is to analyze the multilevel manifestation of the text modality - from grammatical to aesthetic and build a general concept of unrealism as a peripheral, but permanent, constant of the modernist era. However, the ubiquity and dominant delimitation, necessary of structures with conjunctions of unreal comparison, with the predominance of those derived from future forms over those derived from the imperfect, also serves to strengthen the independence of the artwork from social pressure. Subsequently, the characteristic structures of modernity, analogous to the European "future in the past", building an alternative reality, are supplanted by the imperative mood of the second person, with the illocutionary act of calling for a change in the existing reality, in the primitive vanguard and the third person with the "pust" particle [let] in the middle of the 20th century, gradually degenerating into the imperative mood with the "puskai" particle [May], whose motivating pathos is extremely low.  

scholarly journals THE EVOLUTION OF CINEMATOGRAPHY IN RUSSIAN LITERATURE OF THE 1920S

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Valentina A. Nikolaeva ◽  
Natalia L. Fesyanova ◽  
Olga N. Goryacheva
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Early 20Th Century ◽  
Time And Space ◽  
Cultural Process ◽  
The Third ◽  
Main Emphasis ◽  
Close Relationship

This paper concerns the issue of the interaction of literature and cinematography in the cultural process of the 1920s. The main emphasis is placedon the phenomenon of literary cinematography, which became widespread in the third decade of the 20th century. The content of the concept of “cinematographic literature”is defined, its significant characteristics are singled out (special compositional-syntactic organization of the work, representation of the situation of observation, the use of cinema techniques) and the development of cinematography in the work of poets and writers of the period is studied. Inthecourseof the analysis of thetexts, specific techniques and cinematographic functions characteristic of this decade were singledout. Experimenting with artistic time and space, the authors attach an innovative character to the works, develop new ways of constructing the plot. In addition, cinematography makes it possible to add the text documentary and agitationality. The study revealed a close relationship between the development of cinematography in the literature and the general tendencies of the cultural process of the early 20th century.

Architecture in journals of the ‘avant~garde’. Part 2

1984 ◽  
Vol 9 (2) ◽  
pp. 40-65
Author(s):  
Isabella Pezzini ◽  
Jacques Gubler
Keyword(s):  
The Netherlands ◽  
20Th Century ◽  
Early 20Th Century ◽  
Special Issue ◽  
Alphabetical Order ◽  
Avant Garde ◽  
Selection Of

A selection of ‘avant-garde’ journals, from the early 20th century onwards, which have included architectural material. The journals are grouped into countries (which appear in alphabetical order), and are then arranged chronologically by date first published. Part 2 covers journals from the Netherlands, Poland, Romania, Spain, Switzerland, U.S.A., U.S.S.R. and Yugoslavia. Part 1 appeared in Art Libraries Journal, vol. 9, no. 1, Spring 1984. The journals are described by a number of contributors denoted by their initials: A3. (Antoine Baudin); A.R.G. (Antoni Ramon Graells); J.G. (Jacques Gubler); M.D.G. (Manolo De Giorgi); I.P. (Isabella Pezzini); P.G.T. (Piero G. Tanca).The article is the translation of a survey ‘La rete delle riviste’ which first appeared in Rassegna, no. 12, December 1982 – a special issue entitled ‘Architettura nelle riviste d’avanguardia’.

Generic Synopsis of the Formicidae of Vietnam (Insecta: Hymenoptera), Part I — Myrmicinae and Pseudomyrmecinae

Zootaxa ◽  
2011 ◽  
Vol 2878 (1) ◽  
pp. 1 ◽  
Author(s):  
KATSUYUKI EGUCHI ◽  
BUI TUAN VIET ◽  
SEIKI YAMANE
Keyword(s):  
20Th Century ◽  
Early Period ◽  
Early 20Th Century ◽  
New Genera ◽  
Systematic Treatment ◽  
Northern Vietnam ◽  
The Third ◽  
Higher Taxa ◽  
Infraspecific Taxa ◽  
American Authors

Alpha taxonomy of Vietnamese ants was initiated by European and American authors in the early 20th century, and approximately 160 species and infraspecific taxa were described or recorded in this early period. From 1965 to 1966 an inventory project of insects in northern Vietnam was conducted by the Agriculture Ministry of Vietnam, and 36 ant species were recorded. The identity of those taxa, however, needs to be revised based on the modern taxonomy of ants. Since theend of the 1980's dozens of ant species have been newly recorded or described from Vietnam. Regional revisions dealing with Vietnamese species have also been published for several genera including Myrmica, Probolomyrmex, Pheidole, Acanthomyrmex and Anillomyrma. Furthermore, two new genera, Parvimyrma (Myrmicinae) and Opamyrma (Amblyoponinae), were recently described from the country. However, there has been no comprehensive systematic treatment of the Vietnamese ants to date. In order to develop the taxonomy of ants in Vietnam, we have begun a program to: (1) explore local ant faunas; (2) give species codes to all species; (3) overview ant genera known from Vietnam; (4) describe unnamed taxa and review higher taxa known from Vietnam and adjacent areas. Ninety-two genera in twelve subfamilies have so far been recognized by us: DOLICHODERINAE: Chronoxenus, Dolichoderus, Iridomyrmex, Liometopum, Ochetellus, Philidris, Tapinoma, Technomyrmex; FORMICINAE: Acropyga, Anoplolepis, Camponotus, Cladomyrma, Echinopla, Gesomyrmex, Lasius, Lepisiota, Myrmoteras, Nylanderia, Oecophylla, Paratrechina, Paraparatrechina, Plagiolepis, Polyrhachis, Prenolepis, Pseudolasius, Undescribed genus "eg-2"; PSEUDOMYRMECINAE: Tetraponera; CERAPACHYINAE: Cerapachys, Simopone; AENICTINAE: Aenictus; DORYLINAE: Dorylus; LEPTANILLINAE: Leptanilla, Protanilla; AMBLYOPONINAE: Amblyopone, Myopopone, Mystrium, Opamyrma, Prionopelta; PONERINAE: Anochetus, Centromyrmex, Cryptopone, Diacamma, Harpegnathos, Hypoponera, Leptogenys, Odontomachus, Odontoponera, Pachycondyla, Platythyrea, Ponera; ECTATOMMINAE: Gnamptogenys; PROCERATIINAE: Discothyrea, Probolomyrmex, Proceratium; MYRMICINAE: Acanthomyrmex, Anillomyrma, Aphaenogaster, Calyptomyrmex, Cardiocondyla, Cataulacus, Crematogaster, Dacatria, Dilobocondyla, Gauromyrmex, Kartidris, Lasiomyrma, Liomyrmex, Lophomyrmex, Lordomyrma, Mayeriella, Meranoplus, Monomorium, Myrmecina, Myrmica, Myrmicaria, Oligomyrmex, Paratopula, Parvimyrma, Pheidole, Pheidologeton, Pristomyrmex, Proatta, Pyramica, Recurvidris, Rhopalomastix, Rhoptromyrmex, Solenopsis, Strumigenys, Temnothorax, Tetramorium, Vollenhovia, Vombisidris. As the first major contribution to the third goal of the program, here we provide: (1) a key to subfamilies, (2) a key to myrmicine genera, and (3) a synopsis of myrmicine and pseudomyrmecine genera known from Vietnam. A second paper will deal with the Aenictinae, Cerapachyinae, Dorylinae, Leptanillinae Amblyoponinae, Ponerinae, Ectatomminae and Proceratiinae, and a third with the Dolichoderinae and Formicinae.

scholarly journals Становлення теорії синтаксичного зв’язку в українському мовознавстві (ХVІІ – початок ХХ ст.)

2018 ◽  
Vol 53 ◽  
pp. 164-184
Author(s):  
Наталя [Natalia] Віталіївна [Vitaliïvna] Кобченко [Kobchenko]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Morphological Criterion ◽  
Adequate Description ◽  
Parts Of Speech ◽  
Typical Symptom ◽  
Research Perspective ◽  
Second Stage ◽  
The Third ◽  
Third Stage

The formation of the syntactic connection theory in the Ukrainian linguistics (17th – early 20th century)In Ukrainian linguistics, there are no historiographical papers offering an adequate description of the origin and development of the syntactic connection theory. Elsewhere, I have already proposed a periodization of the research on syntactic connections from the time of the appearance of first Slavic grammars until today, which distinguishes five historical stages. The purpose of this analysis is to characterize particularly the first three periods of the development of research on syntactic connections – from the 17th century until the 1930s. The first stage (17th–18th centuries) is the beginning of the syntactic connection theory. The syntactic chapters in the grammars of this period deal with studying the ability of some parts of speech to combine with other words. The second stage (19th century) is the period of approval of terminology and formation of the ground for deepening the syntactic connection theory. All scholars of the period defined two possible realizations of the syntactic connection – agreement and government. The third stage (the beginning of the 20th century until the 1930s) was the period in which the morphological criterion prevailed. The typical symptom of this observed in the period is consideration of syntactic connections between pairs of words in isolation from the rest of the sentence components. The crucial research perspective opened up by the study is to explain in detail the development of research on syntactic connections from the 1940s until today. Tworzenie się teorii związku składniowego w językoznawstwie ukraińskim (XVII – początek XX wieku)W językoznawstwie ukraińskim brak jak dotąd historiograficznych studiów adekwatnie opisujących początki i rozwój teorii związków składniowych. W jednej z poprzednich prac zaproponowałam periodyzację badań nad związkami składniowymi od czasu ukazania się pierwszych gramatyk słowiańskich aż po dziś, wyróżniając w niej pięć etapów historycznych. Celem tej analizy jest scharakteryzowanie zwłaszcza trzech pierwszych etapów rozwoju teorii związków składniowych – od XVII wieku do lat 30. XX wieku. Pierwszy etap (XVII–XVIII wiek) wyznacza początki teorii związków składniowych. Poświęcone składni rozdziały gramatyk tego okresu badają cechy niektórych części mowy pozwalające im na łączenie się z innymi wyrazami. Drugi etap (XIX wiek) to okres uzgadniania terminologii i tworzenia podwalin pod pogłębioną teorię związków składniowych. Uczeni powszechnie wyróżniają wówczas dwa możliwe typy związków składniowych: związek zgody i rządu. Trzeci etap (od początku do lat 30. XX wieku) był okresem, w którym zapanowało kryterium morfologiczne. Typowym tego objawem, jaki można zaobserwować w tym okresie, jest rozpatrywanie związków składniowych pomiędzy parami wyrazów w oderwaniu od pozostałych części zdania. Ważną perspektywą badawczą, jaka otwiera się w rezultacie przeprowadzonych badań, jest szczegółowy opis rozwoju badań nad związkami składniowymi od lat 40. XX wieku po dzień dzisiejszy.

scholarly journals Sinoseris (Crepidinae, Cichorieae, Asteraceae), a new genus endemic to China of three species, two of them new to science

2019 ◽  
Author(s):  
Ze-Huan Wang ◽  
Norbert Kilian ◽  
Ya-Ping Chen ◽  
Hua Peng
Keyword(s):  
Phylogenetic Analysis ◽  
20Th Century ◽  
Internal Transcribed Spacer ◽  
New Genus ◽  
Field Work ◽  
Systematic Position ◽  
Early 20Th Century ◽  
The Third ◽  
Morphological Studies ◽  
Molecular Phylogenetic

AbstractElucidating the systematic position of two Chinese species described originally as Lactuca hirsuta and L. scandens, of which only historical specimens from the late 19th and early 20th century were known, field work confirmed the occurrence of three different species. Molecular phylogenetic analysis of these species based on sequences of the nuclear ribosomal internal transcribed spacer (nrITS) region uncovered a hitherto unknown lineage in a phylogenetic backbone of the subtribe Crepidinae of the sunflower family tribe Cichorieae. Substantiated by comparative morphological studies, this lineage is described as genus new to science, named Sinoseris, endemic to the Chinese provinces Sichuan and Yunnan. Two of its three species are new to science, while the third is conspecific with both L. hirsuta and L. scandens.

scholarly journals A sick genius? The critical reception of Alexei Stanchinsky

Muzikologija ◽  
2021 ◽  
pp. 19-33
Author(s):  
Akvilė Stuart
Keyword(s):  
20Th Century ◽  
Critical Reception ◽  
Early 20Th Century ◽  
Archival Research ◽  
Russian Music ◽  
Insight Into ◽  
Critical Reviews

This article examines the critical reception of the Russian composer Alexei Stanchinsky (1888-1914). It focuses on the critical reviews published in Russian newspapers and musical periodicals during Stanchinsky?s lifetime. Its findings are a result of original archival research conducted in Moscow in 2019. This study shows that Stanchinsky?s work received a more mixed reception during his lifetime than previously claimed. As such, it provides a more nuanced insight into Stanchinsky?s reception, as well as the views and prejudices of early 20th century Russian music critics.

Patronage and Traditional Culture in the Early 20th Century

2021 ◽  
pp. 137-149
Author(s):  
Carme Oriol
Keyword(s):  
20Th Century ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
Private Initiative ◽  
The Third ◽  
Award Winning

In the 1920s, the industrialist and humanist Rafael Patxot i Jubert (1872-1964) promoted and sponsored four cultural patronage projects on Catalan folklore. These were the Obra del Cançoner Popular de Catalunya, the Masia Catalana, the Llegendari Popular Català, and the Refranyer català. The aim of the projects was to collect large corpora of materials to showcase the vast wealth of traditional Catalan culture. In this chapter, the author studies the third of these projects, the Llegendari Popular Català (a collection of folk Catalan legends), by analyzing the importance of this private initiative, the competitions held to promote the collection, and the results achieved by the project. The author also evaluate the importance of one award-winning legend collection from the first competition – that presented by the modernist architect Cèsar Martinell.

scholarly journals Carnivalesque humour in Ça, c’est Filarmo, Nic

2019 ◽  
Vol 8 (1) ◽  
pp. 27-54
Author(s):  
Nikola Novaković
Keyword(s):  
20Th Century ◽  
Comic Book ◽  
Early 20Th Century ◽  
Comic Strips ◽  
The Road ◽  
The Third ◽  
Adult World ◽  
Words And Images ◽  
Primary Focus ◽  
Traditional Structures

The article analyses the humour in Hermann Huppen and Morphée’s series of comic books about a boy called Nick, with primary focus on the third issue, Ça, c’est Filarmo, Nic [That’s Filarmo, Nick]. Drawing on Bakhtin’s theory of the carnivalesque, the article identifies a variety of humorous devices, including wordplay, puns, quotations, unusual transformations, and mésalliances. Special attention is paid to the visual level of the comic book. Humour is located in visual metamorphoses, invisible “phantom” panels, and the incongruity between words and images. The article also addresses the comic book’s intertextual ties with Little Nemo in Slumberland, a series of comic strips from the early 20th century, and compares the way authority is represented and challenged in the two texts. The impossible spaces that Nick traverses within the chronotope of the road are examined as places that invert the usual hierarchies and relations, allowing Nick to experience a level of agency usually reserved for adults. The end of Nick’s travels across the dreamscape is examined as both a departure and continuation of the pattern from Little Nemo, and as a logical conclusion of a temporary carnivalesque subversion of traditional structures that dominate the adult world.

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