Life with Curio and Antonius

Fulvia’s second, brief marriage was to C. Scribonius Curio, who moved in the same social circle as Clodius and who had been an ardent supporter of his in the aftermath of the Bona Dea scandal. As the alliance between Pompey and Caesar broke down in the late 50s, Curio worked ardently to remain neutral, but he finally threw in his lot with Caesar after Pompey’s allies blocked his efforts to negotiate a peaceful settlement. Curio died in north Africa, fighting for Caesar in the Civil War, leaving Fulvia to raise their son. Her third marriage, this time to M. Antonius, produced another two sons. She once again brought respectability and stability to her husband, whose career had suffered from a series of missteps. He seems to have been smitten with Fulvia, even giving up his mistress Volumnia (the actress known as Cytheris) to please her.

Like a Town Sacked and Burned by the Enemy

This chapter narrates how Nassau resumed its normal state as a forgotten and destitute outpost. It outlines the effects of the Civil War in the United States, the cessation of blockade running, and the financial windfall of 1862–1864. The chapter then looks at the powerful hurricane that hit the city, in which hundreds of homes and businesses were completely destroyed. It recounts the center of opposition to blockade-running efforts during the war — the US consulate, and the four men who occupied that office to stop the shipping of contraband: Sam Whiting, Seth Hawley, and Vice-consul William Thompson. It also discusses the significance of Charles Jackson, John Howell, and Epes Sargent in providing aid to the consul's office during the war. The chapter argues that former US consul Timothy Darling was the only prominent merchant to be an ardent supporter of the Union cause, adding he was a true New Englander living in the tropics and was in strong opposition to the slave-holding Confederacy. The chapter also notes the contributions of Lewis Heyliger in Confederate departments, the cotton brokers, and the shipments coming in from Europe. Ultimately, it highlights how Henry Adderley, his son Augustus, and their business partner and Henry's son-in-law George David Harris epitomized the success of the opportunism surrounding the Great Carnival.

Arsenal of the Global South: Yugoslavia’s Military Aid to Nonaligned Countries and Liberation Movements

Yugoslavia’s military internationalism was one of the most practical expressions of the country’s policy of nonalignment. Beginning with Algeria in the 1950s until its demise in the 1990s, Yugoslavia was an ardent supporter of liberation movements and revolutionary governments in Africa and Asia. This article argues that Yugoslav military internationalism was at the heart of Yugoslavia’s efforts to reshape the post-1945 global order and represented an extension of Yugoslav revolution abroad. Military aid was an expression of personal identification of Yugoslavia’s “greatest generation” with decolonization struggle. However, Yugoslav military aid to other countries went beyond a single foreign policy issue. Yugoslav military internationalism touched upon many other issues that included problems related to finances, economic development, the acquisition and transfer of military technology, relations with the superpowers, national security, ideology and politics, and prestige and status in global affairs. By the end of the 1970s, with the departure of the World War II generation and the looming economic crisis, Yugoslav military involvement in the Global South became increasingly driven by economic reasons. Former Yugoslav republics, after a short hiatus in the 1990s during the wars for Yugoslavia’s succession, are still present in the arms trade in the Global South.

Putting the lithuanian Nation on the Right Path of Development: a Note by Prince Pyotr Svyatopolk-Mirsky on the Latin Alphabet in Lithuania

This article publishes a note by Prince P. D. Svyatopolk-Mirsky, governorgeneral of Vilna, Kovno, and Grodno between 1902 and 1904. The note focuses on a key issue of the management of the northwestern outskirts of the Russian Empire, the ban on book publication in Lithuanian printed in the Latin alphabet, which had been in use in the region since 1865. The ban was part of the policy of de-Polonisation and Russification of the northwestern region: implemented after the suppression of the Polish uprising of 1863–1864, it was aimed at protecting the local Lithuanian population from Polish influence. However, by the late nineteenth and early twentieth centuries, it became obvious that the measure had not justified itself, provoking mass discontent of the Lithuanian population, which had previously been completely loyal to the imperial authorities. In Russian political circles, a controversy was unfolding about the future of the Latin alphabet for publications in Lithuanian, some of which is reflected in the document published in the article. Svyatopolk-Mirsky, who had the reputation of a liberal bureaucrat, was an ardent supporter of lifting the ban, seeking to justify his position to Emperor Nicholas II and the top leaders of the empire, i. e. members of the Committee of Ministers and the State Council, on whom the decision was ultimately dependent. Published for the first time, the note is currently stored in the State Archive of the Russian Federation (GARF), fund 1729 (Svyatopolk-Mirsky). The content of the note is much wider than its original task, since it concerns not only the lifting of the ban, but also the need to revise the policies of the imperial authorities in the western periphery as a whole and abolish the a priori repressive and violent methods of its implementation. Also, the note examines the need for cooperation with the local community loyal to the authorities. The study of the source is of considerable interest in the context of analysis of the transformation of the imperial authorities’ policy on the periphery of the empire as they faced the need to establish a dialogue with the local public and find new methods to implement their Russification policy, which was considered impossible to reject at the time. Another significant information layer in the source is the political views and features of modern management practices advocated by Svyatopolk-Mirsky, which he realised in the northwestern region and subsequently tried to transfer to the all-Russian level when serving as minister of internal affairs.

Rostislav Genika: performer, teacher, composer

Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.

The life and work of professor Livery Osipovich Darkshevich (1858–1925). (to the 160th anniversary since the birth of)

The main milestones of the life and work of L.O. Darkshevich. It is noted that the work of a professor on the study of the pathology of muscles and peripheral nerves is of great interest. As early as 1903, in a German manual on pathological anatomy of the nervous system, Liverius Osipovich wrote a chapter on the pathological anatomy of muscles. We emphasize that later they wrote several articles on cerebral and arthropathic amiotrophies. Studying the question of the so-called retrograde degeneration of nerves, he pointed to the development of degenerative changes not only in the peripheral, but also in the central segment of the nerve, which is of great interest for clarifying the spread of the process. The article notes that Liveriy Osipovich Darkshevich considered the creation of a manual on nervous diseases as the greatest debt of his life, which was the testament of his late teacher — Professor A.Ya. Kozhevnikov, who had not managed to do this. Well aware of the conditioned reflex principles of the central nervous system, Liverii Osipovich attached special importance to the cerebral cortex as a body of mental activity. He pointed out that normal mental activity is formed under the influence of incessantly arriving stimuli of the external world, which, having reached the cerebral cortex and entering our consciousness, give rise to representations, the appearance of which in turn gives rise to the manifestation of active cortical activity-the emergence of volitional impulses. Liverii Osipovich was an ardent supporter of active disease therapy and was often an innovator in this field.

Boychukysty

The Boychukysty were followers of the Ukrainian monumental painter Mikhajlo Lvovych Boychuk (1882–1937), who advocated a national Ukrainian artistic school drawn from Byzantine, Ukrainian mediaeval, and early Italian Renaissance sources. They included Ivan Padalka (1894–1937); Vasyl Sedlyar (1889–1937); Ivan Lypkivsky; Oksana Pavlenko (1895–1991); Antonina Ivanova; Manuil Shekhtman (1900–1941); Mykola Rokytsky (1901–1944); his wife, Sofiya A. Nalepinska (1884–1937); his brother, Tymofil Boychuk (1896–1922), and others. Mikhajlo Boychuk was born in Romanivka, now in Ternopil Province in Western Ukraine. He studied at the Kraków Academy of Arts from 1900 to 1904, followed by several months at the Munich Academy of Arts in 1905, under the sponsorship of the head of the Ukrainian Greek Catholic Church, Metropolitan Andrei Sheptytsky (1865–1944). Sheptytsky, an ardent supporter of the arts in Ukraine, funded the education of numerous artists from Galicia to study in Munich and Paris. Boychuk’s education was interrupted by conscription into the Austro-Hungarian army in late 1905, where he served for one year. In early 1907, he moved to Paris to continue his studies, first at the Vitti Academy, then at the Academy Ranson, where he took classes with French Nabis painter Paul Serusier (1864–1927), a professor there. While in Paris, Boychuk met his future wife Sofiya Nalepinska, and other artists, among them Mykola Kasperovych (1885–1938), Sophie Segno (1890–1971), and Sophie Baudouin de Courtenay (1887–1967), who shared a similar passion for Byzantine and Early Renaissance art.

Transferring Sinosphere Knowledge to the Public: James Summers (1828-91) as Printer, Editor and Cataloguer

James Summers occupied the professorship of Chinese for two decades at King’s College London. He was also a trailblazer in promoting the study of Japanese culture in Victorian Britain, but he has been an underrated and understudied figure in British history. Summers was an ardent supporter of modern printing. He believed printed media was the most effective medium to transform British perceptions of Asia, which in turn would help support Britain’s foreign political, commercial and missionary enterprise. He also orchestrated the printing of catalogues and journals in his capacity as library assistant to the British Museum and the India Office Library. He even set up his own press to print a newspaper in order to disseminate knowledge of East Asia to a broader readership. Based on primary materials that have rarely been used before, this paper positions Summers in the study of book history, material culture and print mediums in order to reassess his pioneering efforts in Sinological studies.

Someone loves them

• A friendship goes sour, and you can hardly tolerate someone who was once a close friend. • A colleague who once rankled you becomes your most ardent supporter. • A beloved relative did the unthinkable, and you furiously sever all ties. Whether it is love or hate, we tend to be “all in” with our strong emotions. We operate under the 100 percent rule, believing someone is totally terrible or totally wonderful. Yet the rule is not really a rule at all; it’s a fallacy. It misleads us. Citizens from countries once at war become friends. Beloved associates fall from grace and become nemeses. Swings in friend­ship can cause us to adore or detest wholeheartedly. Reality, however, provides the wisdom to question whether someone is ever totally unlovable or unhateable. When we see the 100 per­cent rule for what it is, a narrow view through a narrow lens, we can step back and consider a more balanced perspective. We can take another view of others and ourselves. Many different thinkers have told us that “what we resist, persists.” The more we resist something or someone, the more we strengthen that thing’s or person’s effect on us. We detest a co- worker; that emotion ties us to her. We believe the secretary snubs us; we begin spotting her other faults. We look for behav­iors to confirm our opinions. And we are so certain of our opin­ions that we often find that evidence, whether or not it exists. Letting go of our animosity frees us from negative thoughts and behaviors that can deplete our emotional health. We see our foe as unlikable, unlovable. Yet someone likes him. Someone loves her. Someone genuinely loves that person. Severely negative portraits we hold of others can fester like an abscess on our psyche. Are we willing to release someone from the 100 percent rule? Are we willing to reframe our perceptions? Imagine how it would feel to rid yourself of that infection. When we use our power to soften assumptions and broaden images, we contribute to our own good health. We release others’ hold on us. And we know someone loves them. We all know difficult people.

Digital Resources: The Wheelan Collection of Photographs of the Mexican Revolution

The John D. Wheelan Collection primarily contains photographs taken along the Texas-Mexico border in the areas of El Paso, Texas, and Ciudad Juárez, México. The processed collection, housed at Texas A&M University’s Cushing Memorial Library and Archives, comprises nearly 700 photographs documenting the Mexican Revolution and the war’s spillover into the United States, during a span of 1912 to 1919. Other portions of the image collection document American soldiers stationed in New Mexico, Colorado, and Wyoming. The images have been digitized as JP2 files and can be viewed at the library’s institutional repository as well as downloaded. While most of the photographs derive from the film stock shot for The Life of General Villa, there are also portraits, scenes of daily life, and landscapes produced by El Paso studio photographers, photo postcards, and postcards. With the exception of some postcards, nearly all the images are black and white. The photos themselves vary in their measurements, though 3.5" x 5" and 5" x 7" predominate; each image’s dimensions is included in the accompanying metadata found in the repository. John Wheelan, already active in the fledging Texan motion picture industry, was one of numerous reporters and photographers who covered the Mexican Revolution. He probably arrived in northern Mexico early in the winter of 1913–1914, when General Francisco “Pancho” Villa held Ciudad Juárez. Villa was considered the most able military commander among the Constitutionalists, a loose coalition of revolutionaries against General Victoriano Huerta’s provisional government. In February 1913, Huerta had conspired in the overthrow of the constitutionally elected government of President Francisco Madero. Villa, an ardent supporter of Madero, was one of several leaders in northern Mexico who were fighting for both the restoration of constitutional government and revolutionary agrarian land reforms.