scholarly journals COINS OF PANTICAPAEUM AND PHANAGORIA OF THE 3rd QUARTER OF THE 1st CENTURY BCE AS A SOURCE OF HISTORICAL INFORMATION

2021 ◽  
pp. 710-733
Author(s):  
М.М. Чореф
Keyword(s):  
The State ◽  
Historical Information ◽  
The Third ◽  
Bow And Arrow ◽  
Fourth Series ◽  
Pointed Star

Статья посвящена оболам, тетрахалам и дихалкам чекана Пантикапея и Фанагории с бюстами Аполлона в лавровом венке, бородатого Геракла, а также Ники с шестиконечной звездой с длинными лучами на аверсе и с изображениями стрелы, лиры и пальмовой ветви, пасущегося пегаса, лука с горитом или со стрелой, лавровой ветви, перевитой лентой, палицы и львиной шкуры, а также проры корабля на реверсе. Их общепринятая классификация до сих пор не разработана, а потенциал как источника исторической информации не раскрыт. Решаем эту задачу, основываясь на результатах иконографического анализа. Выделяем в первую серию оболы со стрелой, лирой и пальмовой ветвью и тетрахалки с пасущимся пегасом на реверсе, выбитые на монетах Асандра. Судя по митридатидской символике, их отчеканили при Скрибонии. После его свержения в Пантикапее были выпущены тетрахалки с горитом и луком и дихалки с палицей и львиной шкурой на реверсе. Относим эти монеты ко второй серии Пантикапея. В Фанагории в период восстания чеканили тетрахалки с пальмовой ветвью. Выделяем их во вторую серию Фанагории. А после победы инсургентов выпустили тетрахалки с луком и стрелой на реверсе. Относим их к третьей серии Фанагории. Судя по разнообразию символики монет, после гибели Скрибония Боспорское государство распалось. В начале правления Полемона I в Пантикапее и в Фанагории были отчеканены однотипные тетрахалки с бюстом Аполлона на аверсе и с пророй корабля на реверсе, что свидетельствует о восстановлении единства государства. Относим эти монеты к третьей серии Пантикапея и четвертой серии Фанагории. Как видим, привлекшие наше внимание монеты как нельзя лучше проиллюстрировали события, произошедшие на Боспоре в последней трети I в. до н.э. The article focuses on the obols, tetrachalkoi and dichalkoi of the Panticapaeum and Phanagoria mints with busts of Apollo in a laurel wreath, bearded Hercules as well as Nike with six-pointed star with long rays on the obverse and with images of an arrow, lyre and palm branch, grazing Pegasus, bow with gorytos or laurel branch, intertwined with ribbon, club and lion’s skin, as well as ship’s prora on the reverse. Their generally accepted classification has not yet been developed, and their potential as a source of historical information has not been revealed. We solve this problem based on the results of iconographic analysis. In the first series, we single out obols with an arrow, lyre and palm branch and tetrachalkoi with a grazing Pegasus on the reverse, embossed on Asander’s coins. Judging by the Mithridatidic symbolism, they were minted in the time of Scribonius. After his overthrow in Panticapaeum, tetrachalkoi with gorytos and a bow and dichalkoi with club and lion’s skin on the reverse were issued. We attribute these coins to the second series of Panticapaeum. In Phanagoria during the period of the uprising, tetrachalkoi with a palm branch were minted. We select them in the second series of Phanagoria. And after the victory of the insurgents, they fired tetrachalkoi with a bow and arrow on the reverse. We attribute them to the third series of Phanagoria. Judging by the variety of coin symbols, after the death of Scribonius, the Bosporus state collapsed. At the beginning of the reign of Polemon I, in Panticapaeum and in Phanagoria, the same type of tetrachalke with a bust of Apollo on the obverse and with ship’s prora on the reverse were minted, which testifies to the restoration of the unity of the state. We attribute these coins to the third series of Panticapaeum and the fourth series of Phanagoria. As we can see, the coins that attracted our attention perfectly illustrated the events that took place in the Bosporus in the last third of the 1st century BCE.

Health Informatics Education in the Third World

1989 ◽  
Vol 28 (04) ◽  
pp. 270-272 ◽  
Author(s):  
O. Rienhoff
Keyword(s):  
Developing Countries ◽  
Health Informatics ◽  
Third World ◽  
State Of The Art ◽  
The State ◽  
Collaboration Network ◽  
Educational Tools ◽  
The Third ◽  
The Third World

Abstract:The state of the art is summarized showing many efforts but only few results which can serve as demonstration examples for developing countries. Education in health informatics in developing countries is still mainly dealing with the type of health informatics known from the industrialized world. Educational tools or curricula geared to the matter of development are rarely to be found. Some WHO activities suggest that it is time for a collaboration network to derive tools and curricula within the next decade.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

How to Define the Czechoslovak Underground

2018 ◽  
Vol 56 (3) ◽  
pp. 42-46
Author(s):  
Barbara Bothová
Keyword(s):  
Significant Influence ◽  
The State ◽  
Way Of Life ◽  
The West ◽  
State Security ◽  
The Third ◽  
Key Events

What is an underground? Is it possible to embed this particular way of life into any definition? After all, even underground did not have the need to define itself at the beginning. The presented text represents a brief reflection of the development of underground in Czechoslovakia; attention is paid to the impulses from the West, which had a significant influence on the underground. The text focuses on the key events that influenced the underground. For example, the “Hairies (Vlasatci)” Action, which took place in 1966, and the State Security activity in Rudolfov in 1974. The event in Rudolfov was an imaginary landmark and led to the writing of a manifesto that came into history as the “Report on the Third Czech Musical Revival.”

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.

VOLOST: HISTORY AND PERSONALITIES

2020 ◽  
pp. 288-293
Author(s):  
E.Ch. Dyzhitova ◽  
N.Ch. Budaeva
Keyword(s):  
Proper Names ◽  
Linguistic Analysis ◽  
The State ◽  
State Archive ◽  
Historical Information

The article, based on materials extracted from the fonds of the State Archive of the Zabaikal'sky krai, presents historical information about the Khori-Buryats of the Khoatsai volost. A linguistic analysis of proper names is carried out, revealing the presence of the names of the Tibet-Mongolian language anthroponymic system.

Subaltern Migrations and the State

2017 ◽  
Author(s):  
Philipp Zehmisch
Keyword(s):  
Final Section ◽  
Social Engineering ◽  
The State ◽  
Penal Colony ◽  
The Third ◽  
Dynamic Relationship ◽  
Historical Processes ◽  
Subaltern Agency ◽  
History Of ◽  
Media Reports

This chapter considers the history of Andaman migration from the institutionalization of a penal colony in 1858 to the present. It unpicks the dynamic relationship between the state and the population by investigating genealogies of power and knowledge. Apart from elaborating on subaltern domination, the chapter also reconstructs subaltern agency in historical processes by re-reading scholarly literature, administrative publications, and media reports as well as by interpreting fieldwork data and oral history accounts. The first part of the chapter defines migration and shows how it applies to the Andamans. The second part concentrates on colonial policies of subaltern population transfer to the islands and on the effects of social engineering processes. The third part analyses the institutionalization of the postcolonial regime in the islands and elaborates on the various types of migration since Indian Independence. The final section considers contemporary political negotiations of migration in the islands.

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

The Judicial Council of the State of New York; Its Objectives, Methods, and Accomnlishments. I

1941 ◽  
Vol 35 (5) ◽  
pp. 933-940
Author(s):  
Leonard S. Saxe
Keyword(s):  
New York ◽  
New York State ◽  
The State ◽  
York State ◽  
The Third ◽  
The Law ◽  
Substantive Law

The Judicial Council and Its Objectives. My assignment is to implement Professor Sunderland's brilliant primer on judicial councils by a more specific presentation utilizing the experiences of the New York State Judicial Council. Of the three elements that enter into a consideration of the judicial branch of government, the first—the substantive law, the law of rights and duties—is not within the province of the judicial council either in New York or elsewhere. The second element—the machinery of justice—is the principal field of the judicial council. If the council does its work well in that field, attention cannot fail to be focused upon the third and most important element—also part of a judicial council's problems—the judicial personnel.

A European Perspective on Religion and Welfare: Contrasts and Commonalities

2012 ◽  
Vol 11 (4) ◽  
pp. 589-599 ◽  
Author(s):  
Grace Davie
Keyword(s):  
Social Policy ◽  
The State ◽  
Comparative Perspective ◽  
European Perspective ◽  
The Third ◽  
Effective Delivery ◽  
Delivery Of Services ◽  
Do So ◽  
West European

This article places the British material on religion and social policy in a comparative perspective. In order to do so, it introduces a recently completed project on welfare and religion in eight European societies, entitled ‘Welfare and Religion in a European Perspective’. Theoretically it draws on the work of two key thinkers: Gøsta Esping-Andersen and David Martin. The third section elaborates the argument: all West European societies are faced with the same dilemmas regarding the provision of welfare and all of them are considering alternatives to the state for the effective delivery of services. These alternatives include the churches.

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