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The basic idea of the essay is that today Europe – although it populates itself with prospective minorities (the migrants) – is fully unable to face up to the minorityproblem. In Western Europe, the assimilation is today systematically confused with integration, but this “integration” could no longer transform itself in a factual basis of social cohesion. There is a fundamental difference between the – substantially always individualistic – assimilation (i.e. the full acquisition of the majority language and culture) and the – always communitarian – integration, based on multilingualism and multiple identities.
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What if the founding father of British radio comedy and the famous broadcaster and author of dystopian social criticism were brought together within one analysis? An aspect rarely considered when looking into the oeuvre of Spike Milligan is the sharp criticism of colonial rule present in his war memoirs. In a letter to his friend and fellow-humourist-to-be, Harry Secombe, there is a short, intriguing part that can be dated circa early 1943 which bears the designation: „S. S: Arcadia, Near Aden” and constitutes the first part of a series of five letters, all reminiscences about the North African coast. More often discussed and widely known is George Orwell’s depiction of colonialism. A most thought-provoking exemplar of it being ‘Marrakech’, an essay first published in a collection entitled New Writing (1939). The correspondence and the short essay possess similar characteristics, so much so that their comparison seems to be a fertile ground for analysis. In my paper, I will venture to indicate that a colonial sensitivity similar in origin yet different in expression lies in the two writings whose authors happened to be both insider-born and outsider-bred subjects of the British Empire.
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The purpose of the paper is to investigate the historiography of the 19th century Habsburg monarchy based on the example of two prominent historians – Mihály Horváth and František Palacký. The first part is concerned with the fundamental processes, which influenced the historiography of the 19th century, the second part provides a small comparison of the two historians. This study shows how historians partially lost the enlightened call for the „universal” and how they gradually entered the national frame of thinking.
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In the article on a wide spring base a story goes about I. S. Mazepa, as talented statesman, wise politician, convinced patriot of Ukraine. Errors are not shaded in his activity
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In the article the principles of studying the manorial estate in the Ukrainian lands have been considered and grounded. The manorial estate is taken as a historic-cultural model with the aim to widen the scientific categorical set of notions and to deepen the interdisciplinary ties in the research work, devoted to the history of the national culture.
More...Интервю на Милена Ангелова с проф. Минчо Георгиев
Prof. Mincho Georgiev is prominent researcher in the field of history of medicine, cultural and medical anthropology. He is the author of “Bulgarian Medicine in the Medieval Time” (2015), “An Attempt on Anthropology of Ritual” (2002), “Psychological, Ethic and Social Problems of Medicine” (2006), “Introduction in Medical Anthropology” (2007), “Mythology of Human Body” (2008), “History of Bulgarian Medicine” (2009) and others.
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Tracing the debates on the folk healers in the Bulgarian medical press, the article explores the reorganization of the local healthcare market in the decades after the Russian-Turkish war of 1877-1878 and the establishment of Bulgarian state with the Treaty of San-Stefano (3 March 1878). The paper focuses on the complex discursive field – sanitary laws, ethnographic works, journalistic programmes, out of which emerged the opposition between the medical men’s project for new publicity of expert knowledge and the “ignorant grannies” reality of ignorance, superstitions and resistant archetypes of health care. The analysis of the physicians’ criticism of indigenous healing practices leads to the conclusion that the specific institutional agenda of the newly created national state presupposes construction of unstable professional identity by mixing occupational regulations with populist patterns and scientific utopias for total demythologization of the pre-modern therapeutic conceptions.
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The paper presents the attempt to elaborate a new hospital regime based on the interpretation of the physiology theory of the Russian and Soviet scientist Ivan Petrovich Pavlov and its spread according to the decisions of the so called “Pavlov’s Session” in Moscow (1950) for transformation of the medical education and practical work. The impact of the “Pavlov’s session” is not ignored in the recent historical research of the Stalin era but it’s strong impact in the practical medical work remained out of the mainstream attention although the medical practices were not outside of the Soviet ideological system. One of the main practical inventions which followed the session was the elaboration of the so called Curative – Protective Hospital Regime in USSR (first experimented in the small Makarov’s hospital near Kiev) which was, propagated proclaimed as a norm and introduced in the hospitals in an administrative way. This regime was based on the explanation of the etiology of deceases according to the official interpretation of the Ivan Petrovich Pavlov’s theory about the High Nervous activity. Important social diseases like hypertonic disease, ulcer were seen as caused by a misbalance between the cortex processes of excitement and inhibition. The idea was to support the so called protective inhibition as a tool to minimize this imbalance. It was in the core of the Curative – Protective Hospital Regime which was expressed in the practical work in a “struggle for silence”, for coziness in the hospital chambers and more time for patient’s sleep. A whisper mode of speech was also established. The paper tries to find out how those concepts, prescriptions, practices and norms were propagated and introduced. The main sources for the research are Soviet medical periodicals, practical instructions and guides. The paper presents also the introduction of the Curative – Protective Hospital Regime in Bulgaria based on Bulgarian medical periodicals.
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Presented paper shows symbols, types and places related with orthodox crosses of Belarusians living in the eastern region of Poland. Cross is the object of worship and the immortal element of Belarusian life of Orthodox religion living in Podlasie region. The following types of crosses are distinguished: four-armed Latin, six-armed, eight-armed, Greek. Crosses, depending on their location and destination, are divided: cemetery, roadside, at crossroads, spring, near fields, meadows and home ones. Crosses are made of raw materials like stone, wood and iron.
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Composers who worked in postwar Gdańsk came to the city from different part of the prewar Poland. Their cultural and educational background was related to their own local tradition, rather different than Gdańsk’s. Those personal experience made their music strongly bonded with their rooted tradition than with the region of Pomerania. To this group of composers belong Władysław Walentynowicz and Konrad Pałubicki. In fact in achievement of Henryk Hubertus Jabłoński we can observe much more references to the city of Gdańsk and Pomerania region because of his prewar Gdańsk’s roots. From this perspective we can noticed that diversity of artistic paths have its deep source in musical experience of personal musical origin and tradition.
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In late January or early February 1826, Count Hugo (II) Karl Eduard of Salm Reifferscheidt visited the Prague studio of the painter Joseph Führich to discuss commissioning two paintings from the artist on a theme from the drama The Life and Death of St Genevieve by German romantic writer Ludwig Tieck. The paintings were intended for Salm’s friend, historian, writer and publisher Joseph von Hormayr. This marked the beginning of several years of cooperation between these two men – an artist and a nobleman – which ultimately gave rise to a number of remarkably good or otherwise noteworthy works by Führich. At the same time, however, the initial ideas of the investor often differed from the final work and there were even conflicts between them, which were openly commented on in letters exchanged between members of the Salm-Reifferscheidt family. The twists and turns in their relationship illustrate the changing nature of aristocratic patronage as it evolved from the courtly ties of the early modern age into a relationship representative of the modern free market, a transition that took place in Bohemia in roughly the first third of the 19th century.
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This article focuses on the restoration of Dürer’s famous painting The Feast of the Rose Garlands (National Gallery in Prague). The restoration work was done by Johann Gruss the Elder in 1839 – 1841. Gruss was a painter from Litoměřice in northern Bohemia. His work shows a degree of skill and knowledge of contemporary Nazarene art, which he applied in a somewhat stiff and simplified form. He was most influenced by the paintings, drawings and prints of Joseph Führich. The inspiration he drew from Führich’s work to repain the face of the Virgin in Dürer’s Feast of the Rose Garlands turns out to have been the correct choice: Führich’s clearly defined period style (in which Führich equalled the work of Dürer) was something that Gruss, an artist of far more humble talent and limited abilities, could easily imitate. He Gruss sought inspiration directly in the works of the Old Masters and tried on his own to transfer their style to the provincial Nazarene style of the 1830s, he would most certainly have been unsure and would have fumbled artistically and the outcome would have been inconsistent. Modelling his work on Führich thus ensured the stylistic consistency of Gruss’s additions.
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During the second half of the 19th century sacral painting increased in the area of the Upper Hungary (now Slovakia). By this time the main reason was quite productive rise of building of a new churches or renovation of the former ones. In this territory it was mostly the activity of the specialist for the sacral art, who under the conductorship of their donors and submitters influenced it. One of them was a member of the Franciscan order and painter Konrád Švestka (Schwestka, 1833 – 1907), active mainly during the second half of the 19th century. He worked namely the Salvatorian province as a sculptor, church interior designer, restorer and renovator. The second important personality in sacral painting was the painter, geologist and scientist, Slovak patriot Jozef Božetech Klemens (1817 – 1883) who primarily operated in the area of today's Slovakia. In a relation to their generation, Švestka and Klemens seem as a completion of one stage of development. In contrast to the votaries of Modernism (for example the Beuron Art School), artists of sacral-historical compositions (such as Mihály Munkácsy), by practice, realization and ways of thinking, they were evidently tied to the older tradition of modern times. Their art and renovations were the service to God, and reflected the tastes of the ones that commissioned them, where the Nazarene tradition belonged to frequently used.
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The purpose of this overview is to examine the reception of the Nazarene movement in France by first recalling how art criticism interpreted the works and theories of Nazarene painters. Then by addressing the question of the existence of a French Nazarene movement, which is currently being debated in modern historiography. And finally by looking at how Nazarene compositions, engravings in particular, had a direct influence on the production of religious paintings, stained glass and other illustrated works of devotion throughout the 19th century. If Nazarene art had little direct impact on major religious paintings in France, and if its reception was controversial with art critics, Nazarene theories nevertheless made a lasting contribution in defining an ideal model of Christian art, whose criteria were posited by Montalembert and Rio. Their influence was to be felt in debates and controversies on the subject of religious art throughout the century.
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In Spain, the Nazarene movement was represented by a group of painters who worked in Rome: Luis de Madrazo, Eduardo Rosales, Alejo Vera and Domingo Valdivieso, but after all (known as the Catalans/all of them Catalans) the Catalans. The most important figure in this group was Pelegrí Clavé, who went on to become a professor at the Academy of San Carlo in Mexico. His Mexican students there included such names as José S. Pina, Santiago Rebull, Eugenio Landesio and José María Velasco. The work of one of them, Rebull, can be found in Prague, because a Czech pharmacist named František Kaska put together a collection of art that he decided to send to the National Museum in Prague in 1906. In this we can observe the persistence of Nazarene painting in time and geography that runs in a line from Spain to Rome to Mexico and finally to Prague.
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Since the late 1960s, but particularly since the beginning of the twenty-first century, sound studies have experienced increasing attention in several scholarly disciplines. This development has to be welcomed but, following all the different turns in cultural and social studies, it should not lead us to proclaim a new “acoustic turn.” What we do need is a continuing integration of sound studies into the study of the senses as an “area of attention” and, more generally, into the cultural and social studies. Sound studies should be pursued in an interdisciplinary way with a cross-cultural globalized perspective.
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