We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The article presents the program of sexual education prepared and offered by Krakow Branch of the Planned Parenthood Association in the wider context of socio-political situation in Krakow (1956 – 1989). Since the beginning of the Association’s existence, the special attention was paid to the development of educational program, which concerned the different aspects of „family life“. The article is going to answer the questions about its goals, the educational tools used to achieve them and its social targets. To accurately determine the position of the Association in the city‘s community I will analyse its foundation and activities in wider context of the pre-war traditions of the organisation and the activities regarding premarital counselling undertaken by the Krakow Catholic Church.
More...
The objectives are to analyze the development of the relations in the sphere of the culture between Switzerland and Germany in the 1930-40’s and to determine the reasons for termination of the cultural dialogue between the countries after the arrival of national socialists in German and conditions of its recovery after the Second World War. The historical-genetic and comparative methods were chosen for the study. With the use of the historical-genetic method, the evolution of the German-Swiss cultural relations in the first half of the XX c. was explored. Appeal to the comparative method has enabled to draw the conclusions about the features of the bilateral cultural relations between Switzerland and Germany in the period between the two world wars, during the war of 1939 – 1945 and post-war years. Scientific novelty of the proposed article is that for the first time in Ukrainian historiography an attempt to explore the development of the cultural relations between Switzerland and Germany in 1930 – 40's was made. Conclusions. The main reasons of the Swiss efforts to withdraw from the involvement in the German cultural world in the late 1930's – 40's were memories of the First World War, when the conflict between the French and German communities had put in jeopardy the peace within the Swiss society, and a desire not to create the pretext for the global public accusations against Switzerland of its involvement in the crimes of the national socialists, which could raise doubts about the issue of Swiss neutrality. The background for the restoration of the cultural dialogue between the countries was the desire of Swiss to support the formation of a new democratic regime in the neighboring country, which was realized through the activities of both individual private artistic associations and institutions, and the work of the Swiss diplomacy, which through the analysis of the cultural situation of the particular German states was searching for the potential areas and ways of cooperation.
More...
In this paper I will analyze Serbian documentary films about guest workers dating from the last decade of the 20th and the first decade of the 21st century, using the perspective of visual anthropology. I question the popular cultural notions about guest workers in films Весеље у Ждрелу (A Celebration in Zdrelo) by author Kamenko Katic, Звона позне јесени (The Bells of Late Autumn) by author Zoran Milenovic, Кад је Милорад удавао ћерку (When Milorad Gave His Daughter in Marriage) by author Vladimir Milisavljevic, Странац тамо, странац овде (A Foreigner There, a Foreigner Here) by author Sandra Mandic and 242 метра живота (242 Meters of Life) by author Novica Savic. The films deal with a number of issues: the economic aspects of guest workers’ lives, their liminal character, the issues of the second and third generations of guest workers, going away "temporarily" to work, and religious rituals. Even though the films were made recently, they all follow the lives of Vlach and Serbian, or rather Yugoslav guest workers who left to find temporary work abroad in Western Europe in the 1960’s and 1970’s. This serves the purpose of avoiding to deal with contemporary reasons for emigrating from Serbia and thus the possible critiques of current regimes or policies in power at the time the films were made.
More...
After the 1st World War, the British government oriented its influence in the Southern Caucasus to sut up a Caucasian wall composed of the three regional countries, Azerbaijan, Armenia and Georgia, in order to stop the Bolshevik Russia and to separate the latter from Turkey. Situation changed after the White Army was defeated in the Northern Caucasus, and the three Caucasian states were brought under Soviet control. On the one hand, Turkey considered the Bolshevik Russia as a natural ally against The Western imperialist forces, then invading many parts of Turkey, and on the other hand, made use of the rise of Bolshevism as a cause against the imperialist forces, thus became very strong diplomatically.
More...
The article presents the opinions of the Polish society on the events of the Poznań June 1956. Despite official announcements and information blockade, news of the uprising spread across the country. Information was circulated among others by visitors to the Poznan International Trade Fair then staying in the city, by railway staff, as well as soldiers and functionaries engaged in suppressing the revolt. Voices of support dominated and were expressed at rallies and gatherings, in discussions and leaflets but also as inscriptions painted on the walls of buildings, inside factories or on railway carriages. The accounts are presented selectively and in a limited scope due to shortage of space, but are fairly representative for the attitude and reaction of Poles to the events that took place in Poznań on June 28, 1956.
More...
Starting with 1918, Paris becomes the center of Romanian propaganda abroad and the „La Roumanie” newspaper becomes the speaker for the Romanian interests. In the pages of this daily were reflected the suffering of Romanian war prisoners confined to prison camps. There are numerous testimonies proving cruel fate of those unfortunates who were abused both physically and mentally, despite international laws that compel the warring States to apply human treatments of prisoners of war.
More...
The paper represents an analysis of contemporary ideas about new wave music formed by generations born after 1980, in the "post-new wave" period. The ever more evident tendency to revitalize and re-actualize the new wave phenomenon at the local level, as well as the identities which stem from it, is indicative not only of the importance of this musical concept but its interdependence with the local community. The echoes of different contemporary narratives about this phenomenon influence the forming of a set of notions about, on the one hand, new wave itself, and on the other – notions about Belgrade of that time period, among generations which form their opinions and perceptions of it indirectly, and after the fact. The aim of the paper is to an- swer the question of the extent to which young people today are familiar with new wave and what the concept represents for them.
More...
Bogdana Nawroczyńskiego bilans walki o państwowość, ziemie i język: na podstawie opracowania Nasza walka o szkołę polską 1901-1917
The following text is an analysis of the struggle for the independence of the Polish nation between the 19th and 20th centuries. This analysis takes an educational perspective and is based on a largely forgotten work of Bogdan Nawroczyński, Nasza walka o szkołę polską 1901-1917. When speaking about the freedom struggle one can distinguish between a more common meaning connected with military conflict, and a less common meaning connected with organic, cultural-based work. The second meaning is especially interesting due to the important role played by education therein. The organization of secret and official schooling in that period not only served to promote the spread of knowledge, but was also used for the rebuilding of the state. Nawroczyński's piece is also important from the point of view of contemporary problems and conflicts.
More...
The Stalinist period in Poland was the time of the strongest attempts by the communists to form a new sort of intellectual, in fact, their own intellectual. One who would not independently ‘understand the nature of things,’ but would do so with obedience, pursuant to the will and demands of the party. This metamorphosis, controlled from the top and executed according to the Soviet model, required a desacralization of the ethos of the intellectual whilst, in the stricte academic world - a transformation of universities from the ‘sacrum of knowledge’ into a producer of professionals/specialists. In addition, there appeared the necessity to exchange places in the master-student system, when the latter became the leader, initiating the academic system of a classless society. In practice, this meant a fierce attack on the pre-war academic staff, who were distrustful towards those in power. Young assistants/deputy assistants of a proper social origin (workers or peasants), entering universities by way of educational shortcuts like, for example, Preparatory Study, without a feeling of impropriety or of breaking age-old rules, destroyed the existing academos. They did not feel uncomfortable when breaking the rules since they were intruders in an area which, under normal conditions, they would never have entered. All thesephenomena, as a case study, were portrayed in the example of Maria Skłodowska-CurieUniversity. The significance of that university is that it was founded by a decree of the PolishCommittee of National Liberation and, in that sense, it had at least a symbolic obligation to identify itself with the political system of that time. Such an approach – a case study – also provides an opportunity to take a closer look at the mentality of those who destroyed the old order, the new ‘fierce’ ones who had risen socially in an unprecedented manner.
More...
The paper presents a case study of visits to World War I battlefield sites (monuments, sacred zones, cemeteries) on the Soča/Isonzo front. The focus is on acknowledging the motivations related to the construction of monuments and the role and interest of the Italian authorities when influencing and encouraging these visits. The paper will also attempt to determine the importance of this practice in the case of memorial sites at the Soča/Isonzo front. Additional issues addressed in the paper include how common visits to these sites were in the interwar period, who the primary visitors were and if and how this activity resonated in the tourism sector, and how tourism reflected the Italian national narrative in the contested border region.
More...
The Romanian parliamentary elections during the interwar period were highly animated, especially due to the countless methods and possibilities of vitiation of the results. Each political party had at its disposal such instruments and methods, but they were most effectively used by the governing party at the time, responsible for organizing the elections. These methods included censorship, curfew, the use of the army, the police and the gendarmerie in order to prevent access to the ballot boxes for the opposition’s electors or to intimidate them, arresting the representatives of the opposition, the use of large quantities of alcohol to influence the voters, etc. In such an electoral context it is very interesting to follow the behaviour of the Hungarian electorate, which was, from a demographic perspective, the most important minority in Romania, also bearing an important economic role. By analyzing the detailed aspects of the Central Electoral Commission in depth, we may conclude that in the counties inhabited by the Hungarian minority we are dealing with the most peaceful elections of the interwar period. The number of complaints and appeals is very low, and there are numerous cases in which in certain counties we have no appeals over the elections result, cases that were highly “unusual” for Romania. As a conclusion, we may say that the Hungarian electorate behaved in an exemplary manner during the interwar elections, but the circumstances in which these elections were held did not allow them to have a great chance of success. The National Hungarian Party participated in all interwar elections between 1922 and 1937, and it achieved fluctuating results.
More...
Holokaust v českém samizdatu
This is a Czech translation of ‘“Vergangenheitsbewältigung” auf Tschechisch: Der Holocaust im tschechischen Samizdat’, which is published in Peter Hallama and Stephan Stach (eds), Gegengeschichte: Zweiter Weltkrieg und Holocaust im ostmitteleuropäischen Dissens (Leipzig: Leipziger Universitätsverlag 2015, pp. 237–60). The author analyses representations of the Holocaust in Czech dissident literature published as samizdat in the 1970s and 1980s. He concentrates on historical writings, but also considers journalistic contributions, memoirs, and works of belles-lettres, as well as translations of publications. In particular, the article considers two aspects that highlight the difficulties one faced and continues to face when trying to fully integrate the Holocaust into Czech national history. First, the Holocaust was often understood by the dissidents as evidence of the inhuman nature of totalitarian regimes. This interpretation, however, led to placing the persecution of the Jews by the Nazi regime on the same level as the persecution of the Czechs by the Nazi and Communist regimes. Second, if there was a reassessment or questioning of the Czech national master narrative, then topics such as home-grown antisemitism or the Holocaust were not addressed. The dissidents admitted that Czechoslovakia also had its question of guilt, but they related it to the expulsion of the German minority after the Second World War. The Holocaust, by contrast, did not generate any similar debate among the dissidents. The behaviour of Czechs during the Second World War, the attitude towards Jews, and domestic antisemitism were thus not questioned at all. The Holocaust has, according to the author, therefore tended to be overlooked or, at best, mentioned only incidentally in writing about twentieth-century Czech history – whether the authors published their texts in state-owned publishing houses or in samizdat.
More...
The paper aims to provide an analysis of the politics of two local interest groups of Prešov, the so-called city parties, as specific forms of middle class dissatisfaction in the interwar period. Based on contemporary election results and archival sources, the first part of the study examines the political behaviour of the inhabitants of Prešov between 1920 and 1935, which helps to determine to what extent the city parties were popular among the multilingual and multi-religious voters. The second part investigates the social composition and the political discourse of the city parties. These local political groups were supported by 10-12% of the voters. Most of their followers were organized among the liberal middle classes, who were not able to identity with the politics of the big parliamentary parties. Their members defined themselves mainly against the Communist and Catholic movement. However, they also criticized the measures of the Czechoslovak government. And at the level of discourse they expressed dissatisfaction with the domestic policy of Czechoslovakia in the form of a virtual community of city burghers, regardless of their ethnic backgrounds. It is argued that because of the high percentage of Hungarian and Jewish intellectuals and entrepreneurs among the leaders and supporters of the local parties, this type of local politics might have been an alternative to the Jewish and Hungarian national politics at a local level.
More...
This article explores the phenomenon of the ‘Green Cadres' at the end of the First World War in Austria-Hungary, with a focus on events in western Slovakia 1918-1920. The Green Cadres were bands of army deserters and radicalized peasants who hid in the forests and mountains of the monarchy during the last year of the war and then violently attempted to topple the social-political order in many localities as the state collapsed. The article suggests that they represented both the last major episode of peasant unrest in the region and a radical new attempt by the rural common people to influence the character of national and social politics in the interwar period. The nationalist dimension of this loose social movement appears to have been particularly strong in western Slovakia and may indicate some affiliation with the leaders of Slovak Catholic populism. On the other hand, the inability of nationalist elites to coopt the Green Cadres was in part responsible for their marginalization in narratives of Czechoslovak liberation as well as in contemporary historiography. On the basis of sources in Slovak, Czech, Slovenian, Serbo-Croatian, and German, this study argues that the Slovak case of the Green Cadres fits into a broader transnational phenomenon, which sheds new light on the history of East Central Europe in the twentieth century.
More...
The main achievements and creative problems of director Igor Aleksandrovich Boris during his working period as the main director of Kharkiv State Academic Drama Theater of T. Shevchenko are considered in this article. This five-years period is associated with the development of the creation style of director who received a director education at the Kiev Theatre Institute of Karpenko-Kary, and his work in the ukrainian theaters and his stagement in the Moscow Theater of E. Vakhtangov. The persistent connection of Vakhtangov and Kurbas artistic traditions is defined during Kurbas working period in the theater "Berezil." In 1991, when I. Boris was appointed as a chief director of “shevchenkivtsiv” the theatrical business felt a real crisis that affected not only the quality of modern drama, but also to the lack of proper funding and attentive management of the theater as a public, social and ideological institutions. I. Boris planned (to the creative testament of Kurbas) and created an actor – director EKMAТEDOS laboratory (experimental studio theater studies). For five years in Kharkov Theatre I. Boris gave opportunities to experiment on large and small stages almost to ten colleagues, among them A. Babenko, S. Beregko, G. Vorotchenko, S. Pasichnyk and others. One of the most significant productions on the Berezil stage was a perfomance of Boris I. "King Lear" by W. Shakespeare. Boris determined the genre of performance as tragedy and grotesk. There is a man. And time as a philosophical category, for theatrical effect is not limited to a specific measurement and signs of epoc. In this play the Polyphonic is felt in good human relations. The director blamed everybody in the Lear tragedy. From the harlequin arrogance to acute pain and humiliation of their own awareness of belonging to the suffering of others humiliated – that was the way Lear was performed by L. Tarabarynov, the outstanding actor of "Berezil". An entirely different approach differed a play "Stolen Happiness" by I. Franko, Boris I. performed in 1992 it held until today in the repertoire of a Theatre T. Shevchenko. And although it has changed several generations of artists, the essence remains the theatrical spectacle, which it was designed by the director: a tragedy of the specific characters and Ukrainian people. For him and for the scene designer O. Semeniuk the fact was important that it is the motherland of the author, in Western Ukraine. That is the reason of almost a pagan character of his heroes, a guttural transfusion of trembitas, a Carpathian Molfar God, who, like an ominous shadow appears in front of the main events of the plot. The context events moved into the historical depth and updated sharpened the plot of I. Franko drama, removing some clichés of the previous interpretations actualized modern ethical context that had lost a lot in recent decades. Critics noticed that the director carefully avoids any comparisons of his version of "Stolen Happiness" with classic models and generally turn a piece of psychological drama (melodrama) in a ritual in mystery. For this he needed a literary version of the text. He used early Franko variations in dialect translations of Boyko to the Slobozhansky standard. The content thus rose from connotation to the words that were used between people. Causing a high stage in a repertory search, I. Borys managed to stage a successful interpretation of A. Chekhov's drama ("Three Sisters") on the small stage of "Berezil." The content situation had read and seen in the show by clear eye, calmly and slowly. The work is not designed for a mass audience. The director wanted to be understood by his intelligent audience, because a great intellectual struggle for their own "Me" always worried him. In addition, dramatic critics have noted Boris I. ability to find and build on the scene an exact physical action, highly ritualized or day to day, but one that grows to metaphor. The same applies to ensemble performance that was taken in its original sense and professional excellence. So the creative achievements of I. Boris and his organizational efforts as chief director of Academic Ukrainian Theater named by Shevchenko were designed to support and to develop the traditions embodied in 1920-30 years by the director of the theater "Berezil" L. Kurbas, namely: – the diversification and the improvement of methods of directing and acting schools that would encourage imaginative transformation and updating of dramatic material for the stage conditions. This contributed to the creation of a creative workshop where mainly the artistsexperimenters representing different vectors of directing modern trends and schools were involved; - the search for national identity, which was felt in the repertoire features of policy formulation of the directorial important task and the rejection of opportunistic and entertainment performances, typical for the unpretentious tastes of the public
More...
The importance of stenography, i. e. the art of writing at speech rate, is widely recognized in the history of evolution of the world science and culture, politics and economy. The given article systematizes the facts about the writers of the 19th and the first half of the 20th centuries who mastered the shorthand or used to resort to the help of professional stenographers in their creative activities. Taking into consideration this review the article makes a conclusion about the role and meaning of stenography in the creative process of F. M. Dostoevsky. He was the second writer in Russia (following V. V. Krestovsky) who applied shorthand writing in his literary work, but the only one in the world literature for whom stenography became something more than just shorthand. He considered it to be mysterious and “high art”. It modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of novels and of the story “A Gentle Creature”, it contributed changes in the writer’s private life and provoke the relatives’ interest (stepson P. A. Isaev, niece E. M. Dostoevskaya). In the course of the marriage of Dostoevsky and stenographer A. G. Snitkina the author’s artistic talent came to the peak. The largest and most important part of his body of work was created in that period. Unfortunately, the Dostoevsky archive keeps only a moderate part of the manuscripts with stenographic notes in them. It is described in the supplement to the article.
More...
The problem of integration, synthesis of multistyle sources, variety of ways of style trends reciprocity in choir cycle "Twelve choires a cappella for mixed chorus" or. 27, words written by Y. Polonsky, from the point of view of preservation and rethinking of traditions and style synthesis is investigated in the article. The trend of style synthesis, assimilation of models of previous epochs brightly shown in S. Tanieyev’s creative activity, whose potential was shaped and carried out during the period from the late XIX – early XX centuries, explicitly stands out as one of the leading trends in pluralism of styles defined by the turn of centuries, in complicated mixture of various style orientations (search of the new, separation from traditional systems, and, at the same time, strive for balance, compensation, preservation of progressive development of art). The aim of the article is to find out variety of ways style trends reciprocity, style synthesis effectiveness in the author's compositions as the expression of important style processes of the given period. Being a representative of musical romantism in historical sense, S. Tanieyev, at the same time, appealed to models deeply intellectual in music art: Renaissance, barocco, classicism. The search of something new together with assimilation and rethinking of traditions appeared in several aspects of S. Tanieyev's activity. The key point of S. Tanieyev's spiritual world and supreme tradition turned out to be philosophy. There is a resonation with Bach concepts of creative activity, with the problematics of classicism as well as with ethic essence of the Russian religious philosophy of the Silver Age in his reference to massive philosophic and ethic problems, in understanding the need in constant pursuit of ethical perfection, of the themes of complexity and counterpoint of the world, which means the unity of polar and, at the same time, cooperating beginnings of "life – death". Connection with barocco tradition possesses a special place in S. Tanieyev's heritage of chorus compositions. Russian chorus music owes to the author's creation of mastery and extraordinary compositions in different genres – opera chorus, cantatas, certain chorus a cappella, massive chorus. A very important place in composer's activity, in his theoretical concept, is devoted to polyphony – a significant achievement of the Renaissance and barocco. The author’s relying on rhetoric resonates with both barocco traditions and symbolist poetics of the late XIX – early XX centuries. Using music and rhetoric shapes, generalization, conventionalism, whose "eternal meaning" gives them the meaning of an emblem, symbol of certain notions, the compose tried to "decode", "interpret" the deep sense of poetic content, fill a note text with spiritual programme. Textual and compositional structure of Tanieyev's choires are rather difficult, and can be revealed only to those listeners, who are aware of barocco music lexis. The motive of chross – a symbol of chross agony – is emphasized among the most significant ones. It is this very shape which ties chorus cycle on Y. Polonsky's words. Austerity, ascetism, concentration of the motive resonates with the content of the text in those its parts where this music symbol is introduced. Rhetoric sign is included into extremely important, philosophically significant in dramatic sense moment of the cycle. A drawing of a circle (circulatio – turning around) became one of the most intensive and meaningful signs in S. Tanieyev's choires. It is associated with the idea of eternity, incredible beauty and verity in barocco music. In intonation dramatism of choires there can be found other music and rhetoric shapes as well, which are important for the dramatism of the whole. Thus, rhetoric shape anabasis, which denotes the symbol of resurrection in barocco music, appeares mostly in choires apealling to reveal lyrical beginning. Catabasis (a symbol of dying, a sign of sorrow, "putting into coffin" on barocco music) can be seen in the cycle of choires where there is a tense and dramatic beginning. Such rhetoric shapes as passus duriusculus, saltus duriusculus are applied to express mourning, suffering. Due to their fixed and stable semantics these music shapes were turned into "signs", emblems of certain feelings and concepts. Detailed study of means of music expression revealed polyphonism of S. Tanieyev's thinking. His massive chorus cycle became the ideal of reciprocity of different style trends in art, showing the ties between epochs, defining integrity of composer's style.
More...