scholarly journals Historical issues in Polish-Russian relations within the period of 1989 to 2007

2021 ◽  
Vol 19 (3) ◽  
pp. 231-255
Author(s):  
Konrad Słowiński
Keyword(s):  
Political Elites ◽  
Russian History ◽  
The Third ◽  
The Past ◽  
Communist System ◽  
History Of ◽  
The Common ◽  
Historical Issues ◽  
Deep Crisis ◽  
The Way

The article focuses on the issue of the influence of the historical conditions on the Polish-Russian relations at the turn of the 20th and 21st centuries. The history of these two countries is linked by a long-lasting and difficult past, and thus numerous unresolved disputes, burdens, and myths arose that have been felt to this day. In 1989, after the fall of the Communist system in our country, new political elites managing the process of democratic changes in the Third Polish Republic made efforts that aimed at settling disputed threads from the common Polish-Russian history. On the way to making up for the past, the period between 1989 and 2007 was marked by a number of important events that could be seen as the symbol of the common reconciliation. Unfortunately, there were also moments of regression and deep crisis that negatively affected the cooperation of both countries in the matter of dealing with difficult cards of the common history. This was influenced by a different approach to the past that is understood differently in Poland and in Russia and that contributed to the emergence of numerous misunderstandings, as well as to the mutual accusations in this field.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

The History of the Rechabites— an Initial Commentary

1997 ◽  
Vol 28 (3) ◽  
pp. 413-436
Author(s):  
Chris H. Knights
Keyword(s):  
Greek Text ◽  
Original Language ◽  
The Third ◽  
History Of ◽  
The Subject ◽  
The Way

AbstractThis article is the third in a series of studies on The History of the Rechabites. The first, "The Story of Zosimus or The History of the Rechabites?,"1 established the independent identity of this text within the Christian monastic work, The Story of Zosimus, and was a sort of prolegomena to the study of this text. The second, "Towards a Critical-Introduction to The History of the Rechabites,"2 sought to address the standard introductory issues, such as date, original language, provenance and purpose. The present paper seeks to examine the text verse-by-verse, and to offer a commentary on it. Or, rather, an initial commentary. No commentary of any sort has ever been offered on the Greek text of HistRech before, and it would be foolhardy to claim that any one scholar could perceive all the allusions and meanings in a particular text at a first attempt. This commentary, then, is offered in the same spirit as my two previous studies on HistRech: as a step along the way towards unravelling the meaning of this pseudepigraphon about the Rechabites, not as the last word on the subject.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

“Solidarity is Something you can Hold in your Hand”

2022 ◽  
pp. 1-25
Author(s):  
Torkil Lauesen
Keyword(s):  
Third World ◽  
Detailed Account ◽  
Popular Front ◽  
Global Context ◽  
The Third ◽  
The Past ◽  
The Future ◽  
History Of ◽  
The Third World ◽  
Support Work

Abstract This article tells the story of an organization based in Copenhagen, Denmark, which supported the Liberation struggle in the Third World from 1969 until April 1989. It focus on the support to the Popular Front for the Liberation of Palestine (pflp). The story is told in a historical and global context. The text explains the strategy and tactic behind the support-work. It explains how the different forms of solidarity work developed over two decades (for a more detailed account of the history of the group, see Kuhn, 2014). Finally, the article offers an evaluation of the past and a perspective on the future struggle for a socialist Palestine.

scholarly journals On Memory of Plates and Dishes

Fluminensia ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 117-136
Author(s):  
Krystyna Pieniążek-Marković
Keyword(s):  
Cultural Memory ◽  
Regional Identity ◽  
Literary Fiction ◽  
Western World ◽  
Individual Identity ◽  
The Past ◽  
Literary Sources ◽  
The Social ◽  
History Of ◽  
The Common

The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.

scholarly journals The “Slavic-Russian Nation” in the Historical Literature of Ukraine and Russia from the 1600s to the mid-1700s

Slovene ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 417-447
Author(s):  
Petr S. Stefanovich
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
The Political ◽  
Russian History ◽  
Slavonic Language ◽  
Imperial Identity ◽  
History Of ◽  
The Common ◽  
The Church ◽  
Century Literature

The article analyzes the history of the concept of a “Slavic-Russian nation”. The concept was first used by Zacharia Kopystenskij in 1624, but its wide occurrence starts in 1674, when Synopsis, the first printed history of Russia, was published in Kiev. In the book, “Slavic-Russian nation” refers to an ancient Slavic people, which preceded the “Russian nation” (“rossiyskiy narod”) of the time in which the book was written. Uniting “Slavs” and “Russians” (“rossy”) into one “Slavic-Russian nation”, the author of Synopsis followed the idea which was proposed but not specifically defined by M. Stryjkovskij in his Chronicle (1582) and, later, by the Kievan intellectuals of the 1620s–30s. The construction of Synopsis was to prove that “Russians” (“rossy”) were united by both the common Slavic origin and the Church Slavonic language used by the Orthodox Slavic peoples. According to Synopsis, they were also supposed to be united by the Muscovite tsar’s authority and the Orthodox religion. The whole conception made Synopsis very popular in Russia in the late 17th century and later. Earlier in the 17th-century literature of the Muscovite State, some authors also proposed ethno-genetic constructions based on Stryjkovskij’s Chronicle and other Renaissance historiography. Independently from the Kievan literature, the word “Slavic-Russian” was invented (first appearance in the Legend about Sloven and Rus, 1630s). Both the Kievan and Muscovite constructions of a mythical “Slavic-Russian nation” aimed at making an “imagined” ethno-cultural nation. They contributed to forming a new Russian imperial identity in the Petrine epoch. However, the concept of a “Slavic-Russian nation” was not in demand in the political discourse of the Petrine Empire. It was sporadically used in the historical works of the 18th century (largely due to the influence of Synopsis), but played no significant role in the proposed interpretations of Russian history.

scholarly journals ‘A Likeness made From First Hand Witness’?: The Discursive Position of a Purported Crazy Horse Photograph

2021 ◽  
Author(s):  
◽  
Grace Campbell Russell
Keyword(s):  
Native Americans ◽  
Manifest Destiny ◽  
American Frontier ◽  
Cultural Object ◽  
The Past ◽  
History Of ◽  
The Way

<p>This dissertation is concerned with the ways in which photographs are discursively deployed and used in the writing of history. More specifically, it will consider how photos, and the historical, scientific, ethnographic and romantic discourses surrounding them, are used to erase or ‘make safe’ the traces of the radical resistances of dominated groups within colonial frameworks. The case explored here concerns the tintype photograph claimed as being of the Lakota chief and warrior Crazy Horse (c.1840-1877). Exhibited by the Custer Battlefield Museum in Montana, the claim that this photograph is of Crazy Horse is controversial. It is generally thought that no visual likeness of Crazy Horse exists; and his refusal to be photographed can be read as a practice of opposition to his assimilation into colonial narratives and accounts of American frontier history. In claiming the photo to be of Crazy Horse, the history of his resistance is rewritten and repositioned. This changes the way he becomes knowable and understandable within the contexts of (neo)colonial discourses and narratives, in which Native Americans are often relegated to the past, and appear either as casualties of the policies of Manifest Destiny, or as a romantic other which has been symbolically integrated into American mythic culture. This dissertation focuses on how the claim that this photograph is of Crazy Horse is made, and how the various associated cultural fields (photography, historiography, museology) are affected by, and play into, such a claim. This involves identifying the discursive processes and disciplinary mechanisms through which meaning is produced in relation to a particular cultural object. It considers the supposed photograph of Crazy Horse as an example of how history assigns significance to objects “in terms of the possibilities they generate for producing or transforming reality” (de Certeau, 1986:202), rather than as representations or reflections of reality.</p>

The Testimony for Marcion's Gospel in NA28: Revisiting the Apparatus to Luke in the Light of Recent Research

2021 ◽  
Vol 68 (1) ◽  
pp. 52-60
Author(s):  
Dieter T. Roth
Keyword(s):  
Scholarly Work ◽  
The Third ◽  
The Past ◽  
Textual History ◽  
History Of

AbstractScholarly work on Luke has often noted the significance of Marcion's Gospel for understanding the textual history of the third canonical Gospel. It is not surprising, therefore, that in the past new insights into Marcion's Gospel have led to revisions in the apparatus of the highly influential Nestle-Aland Novum Testamentum Graece, now in its 28th edition. In view of the precedent for continually updating the Nestle-Aland text and apparatus, this article revisits the apparatus to Luke in the light of recent research on Marcion's Gospel in order to highlight problematic references that should be changed or removed in the apparatus of future Nestle-Aland editions.

Advancing community-led research into the climate of the Common Era

2021 ◽  
Author(s):  
Sarah S. Eggleston ◽  
Steven Phipps ◽  
Oliver Bothe ◽  
Helen V. McGregor ◽  
Belen Martrat ◽  
...  
Keyword(s):  
Climate Science ◽  
Global Changes ◽  
Present Climate ◽  
The Third ◽  
The Past ◽  
Third Phase ◽  
The Common ◽  
Common Era ◽  
Scientific Questions ◽  
New Phase

&lt;p&gt;The past two thousand years is a key interval for climate science. This period encompasses both the era of human-induced global warming and a much longer interval when changes in Earth&amp;#8217;s climate were governed principally by natural drivers and unforced variability. Since 2009, the Past Global Changes (PAGES) 2k Network has brought together hundreds of scientists from around the world to reconstruct and understand the climate of the Common Era using open and collaborative approaches to palaeoclimate science, including virtual meetings. The third phase of the network will end in December 2021. Here we highlight some key outputs of PAGES 2k and present the major themes and scientific questions emerging from recent surveys of the community. We explore how these might boost a new phase of PAGES 2k or a successor project(s). This year we will further reach out to the community through Town Hall consultations, vEGU and other meetings, and a PAGES 2k global webinar series. The aim of these activities is to foster development of post-2021 community-led PAGES initiatives that connect past and present climate.&lt;/p&gt;

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