Performing schools and tutorial methods in the epic art of bagshy-dessanchy

Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.

R/V “VITYAZ” – FLAGMAN OF THE SCIENTIFIC FLEET OF THE GOLDEN AGE OF SOVIET OCEAN SCIENCE

The article is devoted to the first research vessel “Vityaz” of the Shirshov Institute of Oceanology, Russian Academy of Sciences (IO RAS, until 1991 – IO of the USSR Academy of Sciences). The history of the vessel is briefly told, information about “Vityaz” cruises is selectively given, photographs stored in the Museum of the History of IO RAS and documents from the personal archives of IO RAS employees participating in “Vityaz” cruises are given. Some of the photos and documents are published for the first time.

Ethics and Confidentiality: Reflections and Lessons Learned Post-Parent and Bruckert v R and Magnotta

In May 2012, a former research assistant contacted the Montréal police about an interview he had conducted with Luka Magnotta for the SSHRC-funded research project Sex Work and Intimacy: Escorts and their Clients four years previously. That call ultimately resulted in the Parent and Bruckert v R and Magnotta case. Now, a decade later, we are positioned to reflect on the collective lessons learned (and lost) from the case. In this paper, we provide a lay of the Canadian confidentiality landscape before teasing out ten lessons from Parent c R. To do so, we draw on personal archives, survey results from sixty researchers, twelve key informant interviews with qualitative sociolegal and criminology researchers, and documentary analysis of university research policies. The lessons, which range from the clichéd, to the practical, to the frustrating, have implications for the individual work of Canadian researchers and for the collective work of academic institutions.

Het gebruik van “Oud en Nieuw Oost-Indiën” van François Valentyn door bewindhebbers van de VOC in de achttiende eeuw

This article discusses the circulation of information extracted from François Valentyn’s Oud en Nieuw Oost-Indiën (1724–1726) during the eighteenth century, both with regards to the central organs of the Dutch East India Company (VOC) in the Netherlands and the VOC establishments in the East Indies. First, three documents are analysed that were part of five VOC directors’ personal archives, with the aim to determine the way these directors made use of Valentyn’s book. It is concluded that for these directors Oud en Nieuw Oost-Indiën was probably the most important source of information about the VOC’s trading empire, while at the same time their epistemic interest was limited to matters of trade. Second, the usage of Valentyn’s book in various VOC establishments in the East Indies is assessed on the basis of correspondence between these establishments with the VOC central government in Batavia. Because of the fact that Oud en Nieuw Oost-Indiën was used simultaneously as a source of information by several actors, both in the Netherlands and in the East Indies, this might have resulted in standardising the operational knowledge of the East Indies within the VOC network.

FROM THE HISTORY OF THE FORMATION OF A MEDICAL ECOLOGICAL CULTURE IN YOUNG PEOPLE(based on the appeals of the population)

The object of research in this article is sources of personal origin. The article discusses letters that, within the framework of existing classifications of historical sources, represent one of the types of office documentation.For well-known reasons, it would be futile to search for personal correspondence in the archives of state institutions or public organizations; the main place of itsstorage is personal archival funds, archival collections that were previously created and are now being created in statearchives, manuscript departments of libraries and museums, as well as personal archives of citizens.Index Terms:letters, personal archival funds, archival collections, public organizations, appeals, health care system, complaints, geography of letters,ecological problems, health care system

Reflections on (Re)making History

Who and what makes history? This essay describes how physician-activist Tolbert Small (b. 1942) has been collecting, preserving, and recording his own history, as well as of those around him. Small has been practicing medicine in California’s San Francisco Bay Area since 1968, serving a diversity of patients: from thousands of community members to revolutionaries such as Angela Davis and George Jackson. A physician for the Black Panther Party from 1970 to 1974, Small joined the party’s 1972 delegation to China, where he witnessed acupuncture. He then integrated the practice into his medical toolkit upon returning home. Small’s personal archives document an important chapter of American social and medical history. His stories, along with those of the revolutionaries who introduced acupuncture into New York City’s Lincoln Detox Center during the 1970s, ask us to revisit conventional historical narratives as well as the way in which acupuncture history is made.

Viral spot exants in children

The article analyzes the clinical manifestations of the most common viral infectious diseases in children, accompanied by spotty exanthema, provides brief data on the etiology, pathogenesis and epidemiology of these infections, shows photographs for each of the described nosological forms from the authors' personal archives.

Karl Friedrich Schinkel

Karl Friedrich Schinkel (b. Neuruppin, 1781–d. Berlin, 1841) was a celebrated Prussian architect, theatre set designer, artist, furniture and object designer, urban planner, and civil servant. Born into modest yet respectable circumstances as the son of a deacon, Schinkel, by virtue of his talent and work ethic, rose in his own lifetime to become one of Prussia’s most celebrated cultural figures and its chief royal architect. He worked mostly in Berlin and its surrounding territories, including in some areas that are now part of Poland. His built works suffered heavy destruction during the Second World War, but important examples still survive or have been reconstructed, including the Altes Museum, the Friedrich-Werder Church, the Theatre (Schauspielhaus), and the New Guardhouse in Berlin, as well as the Charlottenhof and Glienicke Palaces in nearby Potsdam. His paintings, drawings, and personal archives can be found mostly in collections in and around Berlin, including at various departments of the Berlin State Museums. Recent debates have surrounded the potential reconstruction of Schinkel’s celebrated masterpiece, the Berlin Bauakademie (which was demolished in 1962), bringing a consciousness of Schinkel’s legacy to the fore in German public life once again. Despite his fame in Germany and his noted status as a reference-point for German avant-garde modernism, Schinkel’s work has remained under-explored in the English language (with some notable exceptions) due to difficulties accessing both his buildings and his archives in the years between the Second World War and German reunification. Since the 1990s, however, Schinkel’s international reputation has been steadily restored due to the efforts of a number of scholars and curators who have sought to disseminate his work more widely than ever before. Schinkel’s oeuvre is as eclectic as the tools and media he employed to realize it are versatile. They reveal traces of neoclassicism and the neogothic, French Enlightenment formalism, German Romanticism and Idealism, and 19th-century historicism. But at the same time, his work resists absolute categorization, by virtue of the fact that he lived and worked suspended between two epochs: he was born too late to be immersed in the worldview of the 18th-century Enlightenment and French Revolution, but nor did he live to see Germany’s development as a fully industrialized and unified nation. Occupying this ambiguous historical moment has given Schinkel’s work a versatility, a freedom, and an inquiring rigor that has assured its originality and enduring value.