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 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.

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 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. 

Farewell to Unjustified Enrichment?

2016 ◽  
Vol 20 (2) ◽  
pp. 123-148 ◽  
Author(s):  
Nils Jansen
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Present State ◽  
German Law ◽  
Property Right ◽  
Historical Background ◽  
German Speaking ◽  
Unjustified Enrichment ◽  
The 19Th Century ◽  
Made In

In this article, Professor Jansen sets out the historical background and present state of unjustified enrichment theory in the German-speaking civilian legal systems, Austria, Germany, and Switzerland. The German law of unjustified enrichment has grown from two intellectually separate roots. These different legal ideas were interwoven during the 19th century by the German Pandectists. During the 20th century, it began to appear to many that these ideas did not fit well with one another. Professor Jansen thus argues that the modern civilian law of unjustified enrichment is increasingly characterised by a division into independent and distinct parts. In particular, the rules on the unwinding of contracts and on payments made in contemplation of future contracts no longer have much in common with claims based on an infringement of another person's property right. The conclusion drawn is that the Germanic systems should take their leave of the unifying idea of unjustified enrichment.

scholarly journals ON THE DATE OF BIRTH OF PATRIARCH HADRIAN OF MOSCOW AND ALL RUSSIA

2019 ◽  
pp. 88-93
Author(s):  
A. G. Avdeev
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Critical Analysis ◽  
17Th Century ◽  
Early 20Th Century ◽  
Visual Study ◽  
The 19Th Century ◽  
Source Of Information ◽  
Made In

The Russian historiographic sources recognize three probable birth dates of Hadrian, the last Patriarch of Moscow and all Russia in 17th century, i.e.1627, 1637 and 1639. The fourth date, 1636, is not widely recognized. Two epitaphs to the Patriarch Hadrian, both written by Karion Istomin, a major court poet of that time, serve as the main source of information about the life of the head of the Russian Church. The first epitaph is prosaic, mounted on his tomb in the shrine of the heads of the Russian Church in the Assumption Cathedral in the Moscow Kremlin, and the second is poetic, preserved in the papers of the poet. . This paper establishes that the cause of chronological differences were errors in reading and interpreting the date of the Patriarch's death in the prosaic epitaph, which were made in historical studies of the 19th - early 20th century and without cross-checking with the gravestone inscription were reproduced in various publications. A visual study of the prosaic epitaph, conducted by the author in March 2014, indicates that Patriarch Hadrian died on October 2, 1700 at the age of 62 . The same date is written in the poetic epitaph. The “birthday” of Patriarch Hadrian (October 2), also raises doubts; most likely this date originated in the 19th century on the basis of the day of his baptism. The conducted research on the base of combination of archival sources and critical analysis of the writings of historians of the 19th - early 20th centuries established that Patriarch Hadrian was born in 1638.

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.

scholarly journals Putopis Lacroma krunske princeze udove Stephanie i dvorskog marinista Antona Perka

Ars Adriatica ◽  
2016 ◽  
pp. 219
Author(s):  
Sanja Žaja Vrbica
Keyword(s):  
19Th Century ◽  
Paper Analysis ◽  
The North ◽  
History Of ◽  
German Edition ◽  
The Rich ◽  
Important Position ◽  
Crown Prince ◽  
The 19Th Century ◽  
Made In

Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie (1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.

COVID-19: Cartography as a Witness of Change of Spanish Urban Models along History Due to Sanitary Crisis

2021 ◽  
Vol 8 (1) ◽  
pp. 29-48
Author(s):  
Bárbara Polo Martín
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Human Race ◽  
Starting Point ◽  
20Th Century History ◽  
Urban Models ◽  
Big Cities ◽  
The 19Th Century ◽  
Made In

During past centuries, pandemics were something very natural to the human race, but as result of industrialisation during the 19th century, they became a larger problem. The arrival of populations to big cities provoked the development of irregular and overpopulated quarters without any measures of safety, and facilitated the expansion of diseases. The problem resided in sanitation problems, as the example of what happened in London and Paris. As a solution, in different cities, and as a starting point, Paris with the Haussman’s proposals, issued different reforms and extension plans were made in Spain (Nadal 2017, 357-385). Humanity believed that these extension plans would give us a healthy density and an ordered expansion. We opened big boulevards to believe that we had a wide city to walk, but nothing could be further from reality. At the beginning of 20th century, history repeated itself, and now, a new pandemic crisis has shown that cities have, again, a crisis of congestion. Keywords: cartography, cities, COVID-19, urban models

scholarly journals Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

Ars Adriatica ◽  
2016 ◽  
pp. 185
Author(s):  
Petar Puhmajer ◽  
Krasanka Majer Jurišić
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Apartment Building ◽  
Wrought Iron ◽  
Late 18Th Century ◽  
Archival Documentation ◽  
The 19Th Century ◽  
Storey Building ◽  
Made In

This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan

2018 ◽  
pp. 56-61
Author(s):  
Helena Vogelsang
Keyword(s):  
Social Status ◽  
20Th Century ◽  
19Th Century ◽  
Real Life ◽  
Everyday Work ◽  
The 19Th Century ◽  
Made In

Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography

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