scholarly journals Graphic “Diaries” by Victor Zamirailo in the context of poetics of the symbolist artist`s work

2021 ◽  
Vol 61 ◽  
pp. 317-332
Author(s):  
Olga S. Davydova
Keyword(s):  
20Th Century ◽  
The State ◽  
Creative Potential ◽  
Russian Modernism ◽  
Soviet Ideology ◽  
The Individual ◽  
First Time

The paper aims to analyze the creative “laboratory” of a talented symbolist artist Viktor Dmitrievich Zamirailo, whose art is associated with the development of original features of Russian modernism. Due to the tragic circumstances caused by Soviet ideology, as well as the irrational nature of poetics of the master’s work, Zamirailo’s legacy is poorly studied, but extremely rich in literary and philosophical associations, at the turn of the 20th century. His imaginative world, full of chivalry dreaminess, allows revealing internal (spiritual) sources of the formation of an idealistic system of symbolist thinking, which found its original reflection in the works of such aesthetically close to Zamirailo contemporaries as M. A. Vrubel, A. N. Benoit et al. The paper focuses on the albums with sketches by the master from the collection of the State Russian Museum, unique in their creative potential, for the first time analyzed by the author. Albums allow us to comprehend the individual logic of the Zamirailo iconographic system, as well as to understand the general laws of the fantasy of imaginative illusions of symbolist artists.

scholarly journals Udział polskich ziemian z Mińszczyzny w pracach rady nadzwyczajnej do spraw związanych z potrzebami gospodarki rolnej w Rosji w latach 1902-1903

2021 ◽  
Vol 12 (1) ◽  
pp. 43-62
Author(s):  
Roman Jurkowski
Keyword(s):  
20Th Century ◽  
Active Element ◽  
The State ◽  
Organizational Skills ◽  
Agricultural Society ◽  
History Of ◽  
First Time ◽  
Unknown Period

The article presents an unknown period from the history of the Polish gentry from the Taken Lands at the beginning of the 20th century. It shows the participation of Polish landowners in the work of the Extraordinary Council for matters connected with the needs of agriculture in the Minsk guberniya in 1902-1903, the purpose of which was to describe the state of agriculture in Russia and to indicate ways of its modernization. The Polish landowners, gathered in the Minsk Agricultural Society, were the most active element among all members of the 9 discrits committees in the Minsk guberniya. For the first time since the fall of the January Uprising, they had the opportunity to show their organizational skills and substantive preparation for the discussion on the situation of agriculture in the Minsk guberniya.

AIZGAVIEŅS AND МАСЛЕНИЦА ( SHROVETIDE ) IN LATGALE : TRADICIONS OF LATGALIAN AND OLD-BELIEVERS

Via Latgalica ◽  
2013 ◽  
pp. 131
Author(s):  
Jeļena Koroļova ◽  
Sandra Ūdre
Keyword(s):  
20Th Century ◽  
Old Believers ◽  
Territorial Identity ◽  
Horse Riding ◽  
Individual Memory ◽  
New Year’S Eve ◽  
The Dead ◽  
To Come ◽  
Soviet Ideology ◽  
The Individual

The collective memory better than the individual memory holds the form (actions, words, formulas, scripts) than the matter (why it’s done). That is also true about aizgavieņs and масленица (Shrovetide), the archaic seasonal-rite feasts celebrated in Latgale. Nevertheless in the survey made by Rēzekne University College within the framework of ESF project “Linguo-Cultural and Socio-Economic Aspects of Territorial Identity in the Development of the Region of Latgale” (tilra.ru.lv) 1308 respondents (out of 1959, including 102 questionnaires in Russian) acknowledged Shrovetide as one of Latgalian identity features. In the list of 466 items (well-known people, places, traditions, realias, fi xed phrases, words etc) it holds 67th place. The aim of the work is to describe in comparative aspect the Latgalian and the Old- Believers’ traditions of the time before fasting, stressing syncretism of pagan, Christian (denominationally different) and ideological elements, using linguo-cultural approach. For the work published and unpublished materials of Latgalian folklore as well as the materials of Daugavpils University expedition about Old Believers and for comparing some materials of ethnographic studies in Pskov district (Мехнецов 2002; Прауст 2009) have been used. For all the Indo-European peoples, as they are agricultural people, the rhythm of life and work depends on the solar cycle; for an archaic human being it is the only system of reference frame. Acts of nature determine the quality of life all the year – the harvest should supply food till the next season. Preparing for the new agricultural season (the end of winter) is archaic New Year in modern understanding (Пропп 1995: 33), for archaic people to whom calendar doesn’t exist. Both at Shrovetide and at New Year’s Eve people read fortune about future spouse and the popular beliefs are very similar. Both Latgalians and Old Believers have popular beliefs connected with land tending at New Year eve fortunetelling, for example: at New Year’s Eve they went to crossroads to sow fl ax and later waited that at dream the future husband would come to tend land for flax. Other position: Масленица is the amount of summer solstice and other spring rituals (Клейн 2004: 312). For Slavic people the fertility of land is closely connected with prosperity and mercifulness of its inhabitants. Ritual food and wine is put for the shades, they are asked to come to fire, and they are asked for forgiveness, the graves are visited. For Catholics this time is not the time of commemorating the dead, so Latgalians encourage the growth of the most important for their culture plant – flax – with ritual actions. Most popular beliefs put down in Latgale are related to riding down a hill in a sledge as far as possible or with a horse travel far from home – so the flax grow as long as those ridings. In Latgale not only traditional sledges, but also ladonkys and skretels are used for riding. Ladonkys is a sleigh cut from ice with a hole for a rope and a groove for sitting, where a blanket is put. Seretels is a stake put in low wet place (to freeze in winter) in autumn to which at Shrovetide a pole is attached so the sleigh could be tied to it and spins round. The parade of disguised develop the topic of fertility in a social context. For Shrovetide a superfluity is typical both in entertainment and in food, but the timeline is strictly kept up. Latgalians prepare mainly meet dishes. They eat nine or twelve times and each time they eat meet. Slavic people celebrate Shrovetide for a week, they taste fat dishes, but they don’t eat meet at that time. The symbol of the Shrovetide menu is a pancake, which is the most ancient flour dish and the dish of Cult of the dead, it symbolizes prosperity and satiety. The Shrovetide menu of Latgalians is also unimaginable without it. Catholic fasting starts exactly at midnight of Ash Wednesday when merry-making and easy- time stops. Old-Believers fasting starts on Monday. Archaic ceremony is getting forms of mass events, since even in the conditions of Soviet ideology beginning since 50s of the 20th century, масленица has been celebrated as a farewell to winter with well-known for children Grandfather Frost (Дед Мороз) and The Snow Maiden(Снегурочка), with singing songs, playing games, horse races and horse- riding. Since 90s of 20th century all national groups living in Latgale have been integrated in the celebration of Shrovetide. In 1995 the public disguise event Daugavpils International Masque Festival has been launched where not only local national groups, but also guests from abroad demonstrate their national traditions. The celebration of Shrovetide has got the forms of mass cultural events emphasising its connection to certain place or specific aim of the initiators, for example: the songfest “Aizgavēnī cīmā braucam” (“In Shrovetide we vent on a visit”) of quires and folk companies in Vabole, the meeting of amateur theatres “Aizgavēņa grīztovōs“ (“In the gin-pole of Shrovetide”) in Līvāni (2011), the meeting of performance companies of Rēzekne Schools “Griešanās Aizgavēnī“ (“Rotation in Shrovetide”), “Aizgavieni” (“Shrovetide”) in Baltinava Secondary School; at the same time the restriction of social tradition as well as professional accomplishment can be traced.

scholarly journals Moss species diversity in the glacial cirques of the Polish Karkonosze Mts. and its changes during the 20th century

2013 ◽  
Vol 29 (1) ◽  
pp. 81-95 ◽  
Author(s):  
Ewa Fudali
Keyword(s):  
Species Diversity ◽  
20Th Century ◽  
Herbarium Specimen ◽  
Moss Species ◽  
Full List ◽  
The Past ◽  
The Individual ◽  
Floristic Data ◽  
First Time ◽  
Individual Objects

Abstract Bryo-floristic data from the 19th century and the first decade of the 21th century were compiled and compared to find trends in moss flora transformations during the analysed period. The total number of moss species reported from the glacial cirques in the Polish part of the Karkonosze Mts. amounted to 229 (230 taxa) and the comparison showed 49% of species replaced; 68 taxa were not refound and 45 were reported for the first time. But it seems highly probable that a great number of “newcomers” occurred only in the past and were omitted or overlooked by the 19th century researchers. 23 species among those persistent during the 20th century were found presently in no more than half of the previous localities, so they seem to demand care as probably threatened. Full list of taxa recorded from the individual objects in the studied period, including results of herbarium specimen revision, is provided.

scholarly journals The Spanish Counter-Enlightenment: an Overview, 1774–1814

2019 ◽  
Vol 7 (1) ◽  
pp. 504-537
Author(s):  
Carolina Armenteros
Keyword(s):  
Twentieth Century ◽  
Social Thought ◽  
The State ◽  
General Overview ◽  
The Individual ◽  
Key Aspects ◽  
First Time ◽  
The Relationship

At once neglected and deeply controversial, the Spanish Counter- Enlightenment is crucial to understanding the development of Spanish politics and social thought until at least the mid-twentieth century. From Marcelino Menéndez Pelayo’s praise to Javier Herrero’s denigration to the more balanced assessments of present-day scholars, the movement continues to be a source of debate and varying evaluations. Still, key aspects of it remain to be known, including its anthropology, its approach to Enlightened political concepts, its inheritance from Salamanca scholastics and its ideas on interiority and the relationship between the individual and the state. This paper defines these aspects by examining the works of five of the Spanish Counter-Enlightenment’s major representatives: Fernando de Ceballos y Mier, (1732–1802), Vicente Fernández de Valcarce (1723–98), Lorenzo Hervás y Panduro (1735–1809), Francisco Alvarado (1756–1814) and Rafael de Vélez (1777–1850). The first aim is to identify what made the Spanish Counter- Enlightenment unique yet related to the French Counter-Enlightenment that nurtured and preceded it. The second aim is to provide a general overview of the movement even while introducing it to an Englishspeaking audience for the first time.

scholarly journals “The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

2019 ◽  
Vol 52 (52) ◽  
pp. 53-70
Author(s):  
Duangui Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Semantic Analysis ◽  
World View ◽  
Compositional Approach ◽  
The World ◽  
Poetic Text ◽  
The Individual ◽  
The Ancient Chinese ◽  
First Time

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.

scholarly journals From corporatism to the “foundation of labour”: notes on political cultures across Fascist and Republican Italy

Tempo ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 239-255
Author(s):  
Laura Cerasi
Keyword(s):  
20Th Century ◽  
The State ◽  
The Political ◽  
Modern State ◽  
Political Debate ◽  
Political Cultures ◽  
The Individual ◽  
Institutional Architecture ◽  
The Relationship

Abstract: Until the mid-1930s, corporatism represented the main vehicle of self-representation that fascism gave to its own resolution of the crisis of the modern state; the investment in corporatism involved not only the attempt to build a new institutional architecture that regulated the relations between the State, the individual and society, but also the legal, economic and political debate. However, while the importance of corporatism decreased in the last years of the regime, the labour issue to which it was genetically linked found new impetus. After Liberation Day, the labour issue was not abandoned along with corporatism, but it was laid down in Article 1 of the Constitution. The aim of this paper is to acknowledge the political cultures that in interwar years faced the above-mentioned processes, with particular reference to the fascist “left”, the reformist socialists and, above all, Catholics of different orientations, in order to examine some features of the relationship between the labour issue and statehood across the 20th century.

scholarly journals The psychological genesis of the female-teacher’s vital space

2018 ◽  
Vol 27 (3) ◽  
pp. 89-105
Author(s):  
I.V. Kukulenko-Lukyanets
Keyword(s):  
Gender Stereotypes ◽  
Internal Conflict ◽  
Creative Potential ◽  
Potential Measurement ◽  
Woman Teacher ◽  
Living Space ◽  
Anxiety Control ◽  
Professional Fields ◽  
The Individual ◽  
First Time

The dissertation is devoted to defining genesis, psychological peculiarities, factors and regularities of potentials for the constitution of a female-teacher’s vital space as a dynamic integral entity.  Conceptualized the creative creation of woman in the system of living space determination, which is considered as the integral formation of interaction of nonpersonal, personal, interpersonal, activity and daily measurements of women's life activity, which corresponds to the non-reflexive-reflexive continuum of personality potential.  Measurement of everyday life (non-reflexive level) as the dynamics in the sphere of reflexive activity (personal, professional fields) outlines the limits of the living space of a person as a subject.  The constitution of the vital space of a woman-teacher is considered as a derivative of the deep, physiological, anatomical and sociocultural ability of a woman to create (creation of life), in close interdependence of actual gender stereotypes, childbirth, creation of a family, professional (active) implementation  and self-realization.  The genesis of constituting a woman's living space is regarded as a process of life-creation, transcendence, overcoming the limit of their own possibilities, of existential elevation over passivity and the chance of its existence.  The semantics of the concept of "world-creation essence of a woman" is determined by metatheoretical analysis of philosophical, psychological, theological, and historical studies on the problem of women's ability to create.  A model for constituting the living space of a woman is created, taking into account the depth-psychological determination, archetype-role integrity and activity mediation.  The vital space of a woman-teacher and deepened the idea of the sovereignty of the living space as a form of subjectivity, personal activity, manifested in the ability of man to control, to establish his psychological space are presented.  The theoretical significance of the results of the study is based on the experimental verification of the idea of a harmonious combination of Anima and Animus as a source of creative energy for a woman-teacher in constituting a living space;  in the conceptualization of the category "the living space of a woman-teacher" in connection with the architectural determination of the functions of personal creativity (world creation), which embodies a meaningful for the individual the measurement of the primary doping of the truths, the constitution of which is provided by the transcendental subjectivity.  It is stated that the predominance of androgyny in women as the most productive and harmonious state for the realization of their potential in all spheres of their life-giving activity.  However, high levels of anxiety, internal conflict, rigidity of the psyche and behavior are destructive factors that offset the creative potential of the individual and his ability to create his or her living space.  For the first time, it has been determined that the women of the scientific and pedagogical sphere of activity are dominated by the androgenic type of gender identity.  For the first time, it has been experimentally proved the need to update the masculine qualities of the woman's personality androgynous type to reduce the level of anxiety, conflict, rigidity and increase the creative potential of the subject;  determined levels of creativity, anxiety, conflict, rigidity / lability among female teachers depending on the presence or absence of children, marital status (married, unmarried, divorced, widow), age periodization and place of residence and work (rural schools, city schools,  university).  The interdependence of the constitution of female-teacher’s vital space in connection with the peculiarities of the formation of professional self-consciousness is determined.  The psychological model of the optimal harmonious living space of a woman is constructed. The three-factor structure of the constitution of the living space of a woman, presented by the following factors: "expansive creative activity", "manipulative-regressive femininity", "projective-anxiety control", is developed.  The conceptual model of the creative creation of a woman is realized.  The regularities and tendencies of the ability to constitution a woman's own living space in the conditions of purposeful psychological influence on the model of genetic-oriented psychotherapy are revealed. 

scholarly journals Irkutsk Group “Barque of Poets” in V. P. Trushkin Private Archive

2019 ◽  
Vol 14 (2) ◽  
pp. 198-256
Author(s):  
Anna V. Truskina ◽  
Vladimir V. Nekhotin
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Russian Modernism ◽  
The University ◽  
First Time

The publication contains materials from a private archive compiled by Vasiliy Prokopyevich Trushkin (1921–1996), a professor at the University of Irkutsk, who studied Siberian literature of the early 20th century. Some unknown texts by four poets of the 1920s are published for the first time now. These are Igor Slavnin (1898–1925), Sergey Alyakrinskiy (1889–1938), Vasiliy Prelovskiy (1892–1938), and Mikhail Imray (Gorin; dates of his life remain unknown). All of them were members of Irkutsk literary group “The Barque of Poets”, which in fact was an institution for adapting pre-revolutionary Russian modernism to new realities of the early Soviet era.

The Psychotic Part of the Personality: Bion’S Expeditions into Unmapped Mental Life

2018 ◽  
Vol 66 (2) ◽  
pp. 193-220 ◽  
Author(s):  
Avner Bergstein
Keyword(s):  
Emotional Experience ◽  
Human Mind ◽  
The State ◽  
Mental Life ◽  
Mathematical Concepts ◽  
Clinical Vignettes ◽  
State Of Mind ◽  
The Individual ◽  
First Time

The psychotic part of the personality is seen as a multidimensional mental realm that is fully comprehensible only through intuition and tolerance of approximations, transience, and the notion of infinity. It is suggested that a major differentiating factor between the psychotic and nonpsychotic parts of the personality is the capacity to tolerate the infinite complexity of the human mind. With the use of mathematical concepts, Bion tries to describe the state of mind required of the analyst who endeavors to tread on psychotic territories of the personality. Bion is in effect trying to describe the intensity, violence, and fortitude of the transformation of the emotional experience generated by the psychotic as opposed to the nonpsychotic part of personality. Viewed from this vertex, transference is the path by which the unrepressed and unrepresentable unconscious can evolve and express itself. It is the function by which the individual can live through for the first time aspects of his mental life that have never been experienced. This is illustrated with a number of clinical vignettes highlighting different aspects of our capacity to get in touch with this nonsensuous realm of the psychoanalytic encounter.

scholarly journals W poszukiwaniu „narodowości w fotografice”

2018 ◽  
pp. 65-86
Author(s):  
Maciej Szymanowicz
Keyword(s):  
Twentieth Century ◽  
Collective Memory ◽  
20Th Century ◽  
Theoretical Basis ◽  
The State ◽  
Early 20Th Century ◽  
Historical Experience ◽  
History Of ◽  
First Time ◽  
National Style

In Search for the “National Features in Photography” Summary The main point of the paper is the interest of Polish photographers in nationalist ideas, which has long been one of the forgotten and overlooked episodes in the history of twentieth-century Polish photography. The issue appeared for the first time in 1931-1933, when Polish photographic magazines published a debate about revealing national traits in a photo. It was an aftermath of the idea of the national style in Polish art, promoted since the early 1920s in relation to the needs of the state that just became independent. The greatest authorities of the time took part in the debate, including Jan Bułhak, Józef Świtkowski, Jan Sunderland, and Antoni Wieczorek, who were the main theorists of the Polish photography in the early 20th century. Analyzing the problem, they reverted to various arguments, from purely formal ones, assuming a characteristic tendency of Polish artists to choose particular forms and types of composition (a view based on the theory of pictorialism), through thematic (referring to collective memory and the historical experience of Poles), sociological, and even legal (based on the ideas of Leon Petrażycki). The same arguments were often used later throughout the century. The paper presents the development and theoretical basis of the debate in the early 1930s, as well as later evolution of the concepts which, coined at that time, contributed to the theory of Polish photography in the 20th century.

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