Romanian musical creation of Bizantine source in the period 1918–2018

Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.

Revisiting The 1910 International Exhibition Of Pictorial Photography

This thesis constructs a history surrounding the organization and hanging of the 1910 International Exhibition of Pictorial Photography, which was arranged by Alfred Stieglitz and the Photo-Secession for the Buffalo Fine Arts Academy at the Albright-Knox Art Gallery (then the Albright Art Gallery). This history identifies those involved in the planning and execution of the exhibition and is presented as a timeline of events revealed largely through correspondence between Stieglitz and Cornelia Sage, Director of the Albright Art Gallery. This thesis also examines in detail the installation of the 594 selected works exhibited at the Buffalo institution. In addition, this thesis project outlines the procedure of developing a small exhibition to honor the centennial anniversary of the International Exhibition of Pictorial Photography. Presented to the curatorial staff at George Eastman House International Museum of Photography and Film in Rochester, New York, the proposed exhibition is intended to hang during the 2010 calendar year.

Revisiting The 1910 International Exhibition Of Pictorial Photography

This thesis constructs a history surrounding the organization and hanging of the 1910 International Exhibition of Pictorial Photography, which was arranged by Alfred Stieglitz and the Photo-Secession for the Buffalo Fine Arts Academy at the Albright-Knox Art Gallery (then the Albright Art Gallery). This history identifies those involved in the planning and execution of the exhibition and is presented as a timeline of events revealed largely through correspondence between Stieglitz and Cornelia Sage, Director of the Albright Art Gallery. This thesis also examines in detail the installation of the 594 selected works exhibited at the Buffalo institution. In addition, this thesis project outlines the procedure of developing a small exhibition to honor the centennial anniversary of the International Exhibition of Pictorial Photography. Presented to the curatorial staff at George Eastman House International Museum of Photography and Film in Rochester, New York, the proposed exhibition is intended to hang during the 2010 calendar year.

Men in motion: On the third Unknown Soldier

The third adaptation of The Unknown Soldier premiered during the celebration of the centennial anniversary of Finland’s independence in 2017. The original novel by Väinö Linna was published in 1954. This article will set the story of the novel briefly in both historical and authorial contexts. Then the discussion concentrates on characteristics of spectatorship and observations about differences between the three film adaptations of the novel, the first directed by Edvin Laine (1955), the second by Rauni Mollberg (1985) and the most recent version, again some 30 years later, directed by Aku Louhimies (2017). Analysis of this film highlights differences from the earlier adaptations as well as additions and shifts in emphasis when compared to the novel, such as the role of the home front and the focus on particular characters, especially corporal Rokka.

Working out of oppel stage-by-stage treatment system and further development of military field surgery

Congratulating the wonderful journal “Clinical Medicine” that has played a significant role in the development of medical care in Russia on the centennial anniversary, the surgical community also celebrates the centenary of the birth of modern military field surgery. An article “Great surgery in the frontline of the field army” was published by the surgeon-consultant of a number of fronts of the Russian army in World War I, professor of the Military Medical Academy V.A. Oppel in 1916, and the monograph “Organizational issues of the advanced surgical frontline of the army” appeared in 1917. V.A. Oppel was the first to formulate the idea of stage treatment of the wounded in these works and a number of other ones. From the point of view of stage-by-stage treatment, the wounded receives a surgical measure where this measure is needed; the wounded person is evacuated as soon as his health condition allows it. However, such an approach may seem unrealistic in large-scale wars because military environment often precluded the possibility of providing assistance to the wounded in the place where they needed it. It was not always possible to comply with the contraindications for the evacuation of the wounded. During the world wars, the system of stage-by-stage treatment of the wounded was more a theory, but it was successfully applied practically, and highly improved, during local wars of the late XX — early XXI centuries.

Ways of Art Education Development in Kharkiv (1896–1918)

This article analyzed the activities of Kharkiv City Art School (1896–1912) and Kharkiv Art School (1912–1918) on the basis of unpublished archival materials. The article reveals the connection of these educational institutions with the pedagogical system of Rayevska-Ivanova’s private art school (1869–1896) in Kharkiv, although the industrial art profile inhered in that school was lost. The author showed that the bureaucratic red tape on the part of St. Petersburg Academy of Arts regarding the transformation of Kharkiv City Art School into Specialized School with the corresponding rights stretched for 16 years and slowed down the development of art education in Kharkiv during that period of time. It is emphasized that the opening of Kharkiv Art School finally took place in 1912, that is, much later than other similar educational institutions on the territory of the Russian Empire. It did not have time to fully deploy its work due to the events associated with the First World War and the establishment of Soviet power in Ukraine. Therefore, some talented graduates of that school were forced to emigrate and develop their creativity on other continent, becoming famous masters in the world (V. Bobrytsky, B. Tsybis). At the same time, the teachers of the school under the leadership of its director, a former student of I. Ryepin’s at St. Petersburg Academy of Arts, O. Lyubimov managed to preserve the best traditions of serious academic training in that era of uncertainty about the further development of art education. These best achievements were inherited by the higher art education of Kharkiv, whose centennial anniversary will be celebrated in September 1921. The teachers of the Art School, who themselves joined the innovative pursuits of their time, did not interfere with the “cubofuturistic” preferences of their students, which became a new sign of stylistic changes in art. Subsequently, both supporters of traditions and innovators worked together in the system of higher art education in Kharkiv. But this is the subject of some further research.

“The October Revolution is Still Shaking Our World”: Italians on the centennial anniversary of 1917

This article analyzes an isolated case within the framework of trend of jubilee mania – recent centenary celebration of the Revolution of 1917 in Italy. The author believes that many historical events reappear on the horizon when assigned to play an important role in modern politics. The article describes how the Italians view the Revolution and how it helps to explain modern Russia. The research is carried out within the framework of methodology of public history. Having examined a wide variety of sources (online articles, articles in newspapers and magazines, scientific writings, information on the congresses and conferences, exhibitions, concerts, etc.), the author attempts to demonstrate how the Russian revolutions are reflected in the Italian public opinion. The conclusion is made that the Revolution plays an important role not only in modern Russia, in Italy as well. The latter believe that the Revolution is still present in their culture and politics, correlates with their own path of political history of the XX century, including the powerful Movement for the left that emerged in the country after the World War II. At the same time, Russia did not give due attention to celebration of the centennial anniversary, focusing rather on the victory over Hitler, since this event projects the glory of the Soviet Union onto the modern Russian Federation.

Seeing World War I and Poster Propaganda with Fresh Eyes

Persuasive Weapons: WWI Propaganda Posters is an ongoing digital exhibition and collection hosted by the University of Alabama to commemorate the centennial anniversary of the Armistice signing. This collaborative project distinguishes itself from other publicly available collections by providing detailed compositional interpretations for each poster that situate the images historically and locate salient persuasive strategies. The following Report from the Field chronicles the project’s development, outlines the novel methodological approach, and presents select findings to elevate WWI in public memory, guide future research, and invite adoption of similar approaches to the curation of visual material.