scholarly journals CERAMIC ASSEMBLAGES OF THE THIRD QUARTER OF THE 15th CENTURY FROM THE FUNA CASTLE: UTENSILS OF THE «GARRISON KITCHEN»

2020 ◽  
Vol 34 (1) ◽  
pp. 31-67
Author(s):  
I. B. Teslenko
Keyword(s):  
Comparative Analysis ◽  
Historical Events ◽  
Archaeological Evidence ◽  
The Third ◽  
15Th Century ◽  
The Crimea ◽  
Three Stages ◽  
Last Stage ◽  
Ceramic Assemblages

The Funa fortress is located in southern Crimea and is one of the reference architectural and archaeological complexes of the Northern Pontic Region with precise date of existence. The fortress was built by Mangup authorities near 1423 on the border with possessions of Genoese and was destroyed in a fire during the Turkish invasion of the Crimea in 1475. The detailed chronology of the site which includes three stages of its construction history — 1423, 1425—1450s and 1459—1475, has been developed so far. So it becomes possible to clarify the dating of ceramic finds in line with these periods also. Ceramic assemblages of the last stage from the layers of fire and destruction of 1475 are the most representative. There is the complex from courtyard 1 among them. The ceramic collection includes 101 and 163 fully or partially reconstructed vessels respectively. There are large and average household containers, various kitchen utensils and tableware, both of the local Crimean production and import (Miletus Ware, Spanish Luster and Blue and White Ware, Fritware). The comparative analysis of artefacts made it possible to establish the chronological changes in ceramic assemblages during 25 years. Moreover, statistical and typological studies of the pottery from the layer of fire demonstrated a set of vessels there is suitable for cooking and table setting for at least 40 people. Large number of luxury tableware for diverse using and their location in the context allow suggest that there was a large feast on the platform above the «kitchen», and the remains of this banquet were not removed. According to the archaeological evidence as well as analysis of historical events the inhabitants of the fortress could burn it themselves before Turkish invasion and retreat to the capital of the principality at Mangup. Perhaps the remains of a farewell feast arranged just before leaving was fixed archaeologically.

scholarly journals About new perception of A. S. Pushkin`s poem “Poltava”

2021 ◽  
Vol 60 ◽  
pp. 139-149
Author(s):  
Olga V. Bogdanova
Keyword(s):  
Historical Events ◽  
Central Idea ◽  
Love Story ◽  
The Third ◽  
Three Stages ◽  
Part Structure ◽  
New Interpretation

The paper provides a new interpretation of A. S. Pushkin’s poem “Poltava” offering a broader view of its idea. Whereas, according to critics, the Battle of Poltava is only “an episode from the love story of Mazepa” and is “asymmetrically” located in the poem (V. G. Belinsky), the paper shows that Pushkin’s poem is distinguished by a harmonious and thoughtful composition, associated not only with the image of events of the victorious Battle of Poltava, but also with memories of Poltava (Poltava region), linked by Pushkin with the addressee of the poem’s dedication — M. N. Raevskaya-Volkonskaya. The poem is formed by a three-part structure, each stage of which is connected with one of the passions that capture the characters and are subordinate to Pushkin’s special hierarchy. If the first part embodies the passion of love (images of Mary and Mazepa), the second explicates the passion of revenge (Kochubey and Mazepa) and then the third — the highest, according to Pushkin — the passion of serving the Fatherland, the desire to give it all the heart (Peter, Karl, Mazepa). Three stages of compositional construction embody axiological difference of the protagonist passion and, as a result, reflect stadiality of maturing of a central idea of the poem. Its final meaning is to depict not so much the victory of Peter’s army at Poltava, as the struggle of human passions (love, revenge, Motherland) and their commensurability with the grandiosity of historical events involving the main characters.

scholarly journals Reassessing the Periodization of Mural Paintings in the Cave Church of the Southern Mangup Monastery

2020 ◽  
pp. 47-63
Author(s):  
Yuriy Mogarichev ◽  
Alena Ergina
Keyword(s):  
Christian Schools ◽  
Short Intervals ◽  
The Third ◽  
Eastern Side ◽  
15Th Century ◽  
Mural Paintings ◽  
Natural Rock ◽  
Three Stages ◽  
The Church ◽  
Painting System

Introduction. The Southern Monastery is located in the southern part of the Mangup plateau in a natural rock grotto. The cave church is in the eastern side of the grotto. It is decorated with mural paintings. The murals of the church are concentrated in the altar. Frescos are divided into the images on the apse, on the altar arch and on the vaults of the church. Methods. Authors give the periodization of frescos comparing iconography and stylistics. Analysis. The images on the apse are flat. The eaves of the altar arch are similar to the icon row. Saints on the arches of the church have their original compositional solution. The apse’s painting was formed earlier than other architectural divisions of the church interior. The fundamentally different organization of the tectonics of the pictorial surface of the altar arch eave and vaults suggests that different artists made these images at short intervals. Results. The church’s murals of the Southern Mangup Monastery were probably formed in three stages. Different artists, who were the representatives of various eastern Christian schools of sacred painting, made the murals. Due to the closed compositional scheme the painting system appears as an indissoluble whole, despite the definite duration of the murals’ formation in the church of the Southern Mangup Monastery. In general, the paintings of the church of the Southern Mangup Monastery date from the early – the third quarter of the 15th century. Probably this monastery is associated with the ruling dynasty of Theodoro.

scholarly journals Miracles of the Saints in Nikon’s Chronicle as a Source for the Study of the Church Ideology during the 1520s–1530s

2020 ◽  
Vol 162 (6) ◽  
pp. 58-73
Author(s):  
A.N. Novoselov ◽  
Keyword(s):  
Comparative Analysis ◽  
Russian Literature ◽  
16Th Century ◽  
Historical Events ◽  
Old Russian ◽  
15Th Century ◽  
The Will ◽  
Saint Peter ◽  
The Church ◽  
Will Of God

This paper examines the informative potential of miracles described in Nikon’s Chronicle. Miracles are understood as a symbolic genre of the Old Russian literature. They are stories about unexpected and miraculous events taking place through the will of God and solving some earthly problems. The miracles worked by the following Russian saints were analyzed: Saint Peter of Moscow, Sergius of Radonezh, Barlaam of Khutyn, etc. The texts of miracles from the saints’ lives, Russian chronicles dating from the 15th century to the early 16th century, and Nikon’s Chronicle were compared. It was concluded that the storylines had been considerably revised in the 1520s–1530s. A hypothesis was introduced that the texts were transformed as a result of the influence exercised by Maximus the Greek and the non-possessors, who expressed doubts that certain metropolitans and monastery rectors could have been recognized as miracle workers. This hypothesis was confirmed through the comparative analysis of Nikon’s Chronicle and the trial minutes of Maximus the Greek. The conclusion was made that the miracles described in the earlier sources were rewritten in the subsequent years to shift the emphasis on the important role played by certain church figures in the key historical events.

The Coherence of Mary Barton: Romance, Realism, and Utopia

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell
Keyword(s):  
Thomas Carlyle ◽  
The Novel ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Three Stages ◽  
Mode Of Production

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

STRATEGI MAKSIMALISASI ANGGARAN BELANJA PADA BALAI PENELITIAN DAN PENGEMBANGAN LINGKUNGAN HIDUP DAN KEHUTANAN MANOKWARI

2016 ◽  
Vol 8 (2) ◽  
Author(s):  
Arif Hasan ◽  
Dedi Budiman Hakim ◽  
Irdika Mansur
Keyword(s):  
Decision Making ◽  
Descriptive Analysis ◽  
Secondary Data ◽  
Primary Data ◽  
Fiscal Year ◽  
The Third ◽  
Swot Matrix ◽  
Three Stages ◽  
Using Data

This study aims to analyze causes of the low uptake of the budget and formulate a strategy of maximizing the absorption of expenditure on Balai Penelitian dan Pengembangan Lingkungan Hidup dan Kehutanan Manokwari. Respondents involved are 20 people that consist of: treasury officials and holder output of activity. The data used were secondary data in the form of reports on budget realization (LRA) quarter I, II, III and IV of the fiscal year 2011 to 2015, and the primary data were in the form of interviews with the help of a questionnaire. While the analysis of the data used was descriptive analysis using data tabulation, and the analysis of the three stages strategy of the decision making used IFE and EFE matrix, SWOT matrix and QSPM matrix.The results showed that there are 19 factors causing low of budget absorption until the end of the third quarter, and there were 10 drafts of policy as a strategy for maximizing the absorption of the budget on Balai Penelitian dan Pengembangan Lingkungan Hidup dan Kehutanan Manokwari.ABSTRAKPenelitian ini bertujuan untuk menganalisis penyebab rendahnya penyerapan anggaran belanja dan merumuskan strategi maksimalisasi penyerapan anggaran belanja pada Balai Penelitian dan Pengembangan Lingkungan Hidup dan Kehutanan Manokwari. Responden yang terlibat adalah 20 orang yaitu pejabat perbendaharaan dan pemegang output kegiatan. Data yang digunakan adalah data sekunder berupa laporan realisasi anggaran (LRA) triwulan I, II, III dan IV tahun anggaran 2011 sampai 2015, dan data primer berupa wawancara dengan bantuan kuesioner. Sedangkan analisis data yang digunakan adalah analisis deskriptif menggunakan analisis tabulasi, dan analisis analisis strategi tiga tahap pengambilan keputusan menggunakan matriks IFE dan EFE, matriks SWOT dan matriks QSPM. Hasil penelitian menunjukkan bahwa terdapat 19 faktor penyebab rendahnya penyerapan anggaran belanja sampai akhir triwulan III, dan terdapat 10 rancangan kebijakan sebagai strategi maksimalisasi penyerapan anggaran belanja di Balai Penelitian dan Pengembangan Lingkungan Hidup dan Kehutanan Manokwari.

COMPARATIVE ANALYSIS OF THE GEOMETRICAL CONTENT IN THE NEW BULGARIAN TEXTBOOKS OF MATHEMATICS FOR THIRD GRADE

2018 ◽  
Vol 28 (3) ◽  
pp. 991-996
Author(s):  
Gabriela Kirova
Keyword(s):  
Comparative Analysis ◽  
Third Grade ◽  
Obtuse Angle ◽  
Curve Beam ◽  
Mathematics Textbook ◽  
The Third ◽  
School Year ◽  
Learning Content ◽  
Relative Share ◽  
Geometric Content

Starting with 2018/2019 school year in Bulgaria, the math education in the third grade is implemented through new training kits. They were developed on the basis of the new third-grade mathematics curriculum, approved by Order No. РД 09-1093 / 25.01.2017 of the Minister of Education and Science, Annex No. 8, supplemented by Order No. РД 09-2555 / 15.06.2018 of the Minister of Education and Science. Training kits are approved by the Ministry of Education and Science and are 7 in total. Geometric learning content in new math textbooks is the second most important element after arithmetic content. It is combined with the arithmetic learning content, and by this the foundation of the successful study of geometry in the next school grades is laid. The new geometry knowledge that is included in the third grade curriculum is the following: straight line, curve, beam, angle, right angle, obtuse angle, acute angle, right triangle, acute triangle, obtuse triangle; naming geometric figures with Latin alphabet letters [11]78. It is important in a modern mathematics textbook to have a rich and varied geometric content. It is important that the new types of geometry tasks are introduced with rich visualization using a specific-inductive approach. The relative number of tasks of a given type is an important prerequisite for the successful formation and improvement of skills for solving geometric problems in pupils at the age of 9-10. This article will present a comparative analysis of the geometric content in the seven approved Bulgarian third-grade mathematics textbooks, which are used in the mass practice of this school year. For the purpose of the study, a classification of all types of tasks and exercises with geometric content has been developed. Then the tasks in the seven textbooks are systematized by the so chosen classification. The data are statistically processed taking into account the relative share of tasks of each type within a textbook, as well as a comparison between the relative shares of the geometric tasks in the different textbooks. The established differences in the number and relative share of different types of geometric tasks make it possible for the analyzed textbooks to be ranked. Such a study has not been published so far. It has a relation to the assessment of the quality of the textbooks offered. The conclusions formulated in this article can help primary teachers in their choice of textbooks to teach to their third grade students.

Inscriptions and the Narrative of Roman History

2015 ◽  
Author(s):  
David S. Potter
Keyword(s):  
Roman History ◽  
Third Century ◽  
Historical Events ◽  
The Third ◽  
Literary Sources

This chapter offers an analysis of how inscriptions can complement the narratives of Roman history from the third century BCE to the third century CE provided in literary sources. They reveal certain historical events or details that would otherwise be unknown, and they supplement the information offered by the surviving Roman historians .

scholarly journals Corporations and Human Rights Obligations

2016 ◽  
Vol 1 (2) ◽  
pp. 255-275 ◽  
Author(s):  
Denis G ARNOLD
Keyword(s):  
Human Rights ◽  
Transnational Corporations ◽  
Moral Agents ◽  
The Third ◽  
Three Stages ◽  
Argument Proceeds ◽  
Policies And Practices

AbstractThe claim that corporations have human rights obligations remains contentious and can be fraught with confusion. This article synthesizes existing corporate human rights theory and responds to objections to the idea that transnational corporations (TNCs) have human rights obligations. The argument proceeds in three stages. The first section describes the different forms TNCs take and explains why TNCs are properly understood as moral agents responsible for their policies and practices. The second section reviews and explains different philosophical theories of corporate human rights obligations. The third section articulates and responds to objections to the idea that corporations have human rights obligations. The main conclusion of this article is that there are multiple, compelling and overlapping justifications of corporate human rights obligations.

scholarly journals Labels on the maps of the Third Military Survey of Austria-Hungary and on the survey maps of the Military Geographical Institute (Wojskowy Instytut Geograficzny) in Warsaw in the light of survey manuals

2015 ◽  
Vol 47 (1) ◽  
pp. 31-43 ◽  
Author(s):  
Wojciech Włoskowicz
Keyword(s):  
The Other ◽  
Standard Map ◽  
The Third ◽  
Last Stage ◽  
The Right ◽  
The Military ◽  
Topographic Surveys ◽  
The Way

Abstract Materials from topographic surveys had a serious impact on the labels on the maps that were based on these surveys. Collecting toponyms and information that were to be placed as labels on a final map, was an additional duty the survey officers were tasked with. Regulations concerning labels were included in survey manuals issued by the Austro-Hungarian Militärgeographisches Institut in Vienna and the Polish Wojskowy Instytut Geograficzny in Warsaw. The analyzed Austro-Hungarian regulations date from the years 1875, 1887, 1894, 1903 (2nd ed.). The oldest manual was issued during the Third Military Survey of Austria-Hungary (1:25,000) and regulated the way it was conducted (it is to be supposed that the issued manual was mainly a collection of regulations issued prior to the survey launch). The Third Survey was the basis for the 1:75,000 Spezialkarte map. The other manuals regulated the field revisions of the survey. The analyzed Polish manuals date from the years 1925, 1936, and 1937. The properties of the labels resulted from the military purpose of the maps. The geographical names’ function was to facilitate land navigation whereas other labels were meant to provide a military map user with information that could not be otherwise transmitted with standard map symbols. A concern for not overloading the maps with labels is to be observed in the manuals: a survey officer was supposed to conduct a preliminary generalization of geographical names. During a survey both an Austro-Hungarian and a Polish survey officer marked labels on a separate “label sheet”. The most important difference between the procedures in the two institutes was that in the last stage of work an Austro-Hungarian officer transferred the labels (that were to be placed on a printed map) from the “label sheet” to the hand-drawn survey map, which made a cartographer not responsible for placing them in the right places. In the case of the Polish institute the labels remained only on the “label sheets”.

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

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