The Greek Catholic Parish Clergy in Liberation Struggle of the Galician Ukrainians in 1918–1923

Author(s):  
Nataliia Kolb
2016 ◽  
Vol 3 (1) ◽  
pp. 32-42
Author(s):  
Allan T Maganga ◽  
Charles Tembo ◽  
Peterson Dewah

Oral sources such as proverbs, songs and folktales have been used to reconstruct people’s identities. As a primary ‘means of communication’ music is often used to capture or record peoples’ experiences in history. In Zimbabwe, Simon Chimbetu exemplifies one musician who is in search of his country’s past in as far as he uses his music to record the history of the liberation struggle. This paper provides an in-depth examination of Chimbetu’s selected songs. Singing after the war itself is over, it is argued, the music functions as a reference point to the citizens because it is a transcript of their past experiences something which is essential to the present and future generations. By insisting on educating his audiences on the liberation struggle, Chimbetu satisfies Sankofan approach. It is argued in this paper that Chimbetu’s musical reflections provide enriching experiences and reveals that it is historical music.


Author(s):  
Virginia Davis

This chapter reviews the book University Education of the Parochial Clergy in Medieval England: The Lincoln Diocese, c.1300–c.1350 (2014), by F. Donald Logan. In 1298, Pope Boniface VIII’s constitution cum ex eo was published. It was considered a landmark in the provisions of higher education for the parish clergy, opening the way for parish rectors who had not yet been ordained as priests to absent themselves from their parishes for up to seven years to attend university. Logan explores how this constitution was implemented across Europe by focusing on the diocese of Lincoln, the largest in England with nearly 2,000 parishes. Logan emphasises the distinction between cum ex eo dispensations and the parallel procedure called licencia studendi, both of which contributed significantly to the enhancement of clerical education in fourteenth-century England.


1938 ◽  
Vol 175 (11) ◽  
pp. 196-196
Author(s):  
J. W. F.
Keyword(s):  

2009 ◽  
Vol 51 (2) ◽  
pp. 236-259 ◽  
Author(s):  
Luise White

For much of the last seventy-five years African combatants, especially in wars of their own making, have not been seen as masters of the guns they shoot. In Kenya in the 1950s, for example, captured Mau Mau were humiliated: they were taken to shooting ranges where they failed to hit a target with their guns. More recently, rebels in southern Sudan considered guns poor, if effective substitutes for more embodied weapons like spears, while young men in Sierra Leone fought with the weapons at hand such as knives or machetes, because they were too poor to obtain guns. When the armies of Ethiopia and Eritrea fought well and hard with sophisticated weapons, it was said to be the result of Cold War rivalries or national agendas gone berserk. Rhodesia's bush war, Zimbabweans' liberation struggle, suggests something else, a space shaped by technology and clientelism in which guns, most especially guns in guerrilla hands, exemplify very specific European ideas about Africans, that they are skilled and sophisticated.


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