Historia seksuologii. Wyodrębnienie europejskiej seksuologii.
Część I: założenia i popularyzacja nauki o seksualności
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Część I: założenia i popularyzacja nauki o seksualności
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After the formation of the Czechoslovak Republic, one of the priorities was the educational process with the aim of reflecting the democratic principles of the new state. From the beginning, the Ministry of Education and Public Information endeavoured to apply innovative elements in the content of educational programmes. The text concentrates on the production and use of short films as an important contribution to education in the republic, including the supervisory body: the Department for School Films. Attention is also devoted to terminological definition of the cultural – educational film.
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Source research into medieval musical materials from the territory of Slovakia has brought many new and valuable findings in recent times. The sources include newly discovered musical fragments from various archive, book and museum collections from the 11th to the end of the 15th centuries. Almost all the surviving musical sources contain monophonic Latin liturgical song, so-called Gregorian chant (in Latin cantus planus) of domestic and foreign origin. The manuscript materials from the Kingdom of Hungary include fragments in the Slovak National Archives from the Leles Premonstratensian Monastery place of authentication (locus credibilis). Fragments of four manuscripts with notes represent a scriptorium tradition that is specific from the points of view of content and musical notation. The medieval fragments with notation are preserved as the packaging for documents (Acta anni – varia). They come from four different liturgical books: a Sequentiar from the second half of the 14th century, a Missal from 1350–1375, an Antiphonar from 1350–1375 and a Psaltar with notes from about 1400. The aim of the study is to present the content and significance of these musical materials for research on medieval musical culture, religion and manuscript production in medieval Slovakia.
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The study describes the nature and destiny of the art heritage of Russian aristocrat Natalia Ivanovna Ivanov (1801–1850) and her foster father, a French Earl Xavier de Maistre (1763–1852). Natalia I. Ivanov was the first wife of Baron Gustav Friesenhof (1807–1889), who in 1846 bought a renaissance manor in Brodzany, the territory of Ponitrie.The heritage consisting particularly of art albums, herbaria and manuscripts that originated against the background of two phenomena of Russian culture and history, namely the activities of a Russian art community living in the territories now forming Italy in the first half of the 19th century and the journeys of Russian aristocrats in Western and Southern Europe,especially in the Italian Peninsula, the place where Natalia I. Ivanov and Xavier de Maistre were living in 1826–1838.The study reflects activities of Earl de Maistre and N. I. Ivanov during the above- mentioned period in the company of Russian aristocrats and diplomats as well as their art activities together with important Russian artists, such as Orest A. Kiprensky and Karl P. Briullov or the representatives of the Naples art school Posillipo and French painters.The art heritage mirroring a unique combination of Slovak environment together with Russian aristocracy and Russian and Italian artistic circles is today presented in the Slavic Museum of A. S. Pushkin in Brodzany.
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Uzduž obronaka primorske padine Velebita i Velike Kapele nalazi se velik broj poznatih, ali još više nepoznatih, neotkrivenih, manjih i većih, pučkih i gradskih sakralnih-votivnih objekata različite veličine i značenja: crkava i samostana, kapela i kapelica, hospicija-konačišta, crkvina, oltarića, zanimljivih mirila i počivala, po predaji svetih mjesta, pećina i čudotvornih vrela, tzv. grčkih bunara, grobova-groblja, cimitera, istaknutih stijena i svetih brda, koji su posvećeni Djevici Mariji — Majci Božjoj, Isusu Kristu, Spasitelju i svecima, zaštitnicima apostolima, koji su na neki način svojim životom i djelima od davnine vezani za određeni kraj i ljude, za njihov način privređivanja: stočarstvo, zemljoradnju, pomorstvo, posebno za njihovo zdravlje, napredak njihovih obitelji, sela, grada i šireg zavičaja.
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Riječ je o Podgorcima od Senja do Karlobaga, a prostor o kome ćemo govoriti obuhvaća bivše općine: Sv. Juraj, Jablanac, i jedan dio općine Karlobag—Cesarica.
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Article deals with a variety of ways by which Orthodox believers of the GrandDuchy of Lithuania were present in diplomatic rhetoric in the end of the 14thbeginning 16th centuries. After the conversion of the Lithuanians in 1386,Teutonic Order tried to prove that Grand Duchy is not a good Christian countryby pointing to the Orthodox majority in Lithuania. Knights depicted OrthodoxRuthenians as enemies of the Roman church and heretics, who enjoyed thebenevolence of Lithuanian rulers. Polish-Lithuanian side fi rstly also accusedthe knights of favoring Eastern Christians, but later at the Council of Constancein 1414–1418 presented their Orthodox subjects as ones, who are ready toreunite with the Western church. In 1430-s the same tropes were reproducedby diff erent actors. There were Polish representatives, who drew the picture ofthe Orthodox threat in Lithuania in front of the Council of Basel and Teutonicdiplomacy, which assisted grand duke Svidtrigaila in attempts of reunitingOrthodox Ruthenians with Rome. Wars with Moscow in the end of the 16thcentury. brought another dimension in diplomatic rhetoric: the question offreedom of faith for the Ruthenians in Grand Duchy of Lithuania and the ideaof Christian unity in facing the Ottoman threat. The main way to overcome thecontradiction between the religious situation in Grand Duchy of Lithuania andthe western Christian ideal of unity in orthodoxy in diplomatic rhetoric wasthe perspective of achieving this ideal in the near future. On the other side,the confrontation of this situation with similar demands from the East lead tothe articulation of the ideas of freedom of conscience and the importance ofpeace between the two branches of Christianity.
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Our study investigates the context, practice and forms of production and artistic representation during the communist political regime, when the dominant visual discourse is closely related to the imposed policies of representation, which took the place of aesthetic poetics. The study will highlight the way in which art changes its message, but also the stake under the propagandistic discourse, in order to impose a new visual rhetoric, which contributes to the (de) formation of representation strategies.
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Ion Manolescu, the cousin of my great-grandfather, was one of the most beloved Romanian actors between the two World Wars. Constantly living and working in precarity, he happily accepted what the Romanian communist regime had to offer to him: a new, safe job at the National Theatre, and the best position an actor could have during those years: the title of People`s Artist, imported from URSS. In this article, I use the concept of "metaphor“ as developed in cognitive sciences by George Lakoff and Mark Johnson, to see how the actor that played for the first time in Interwar Romania praised Osvald Alving ("Ghosts“, by Henrik Ibsen), came to play, at the beginning of Romanian communist regime, a sad Gloucester in a sad and compromising production of "King Lear“.
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Between 1964 and 1971, society seemed to breathe the air of normalcy again and it was a period of cultural openness. National values of culture are rediscovered and revalued, and intellectual contacts with the Western world are resumed. Compared to the decade of proletarianism, the relaxation was obvious. A Decree of the Council of State in May 1975 ordered the establishment of the Press and Printing Committee, so that only two years later, in 1977 (Decree no. 427), censorship was abolished as an institution, but not eliminated. The censorship measures, official or by recommendations (received despite the legal dissolution of the General Directorate of Press and Printing) were carried out until 1989.The playwrights had to present, in an artistic package, the political program of the communists. The themes were necessarily "topical", ideologically inspired, promoting the perfect face of the model communist and urging militant attitudes.Romulus Guga asserted himself one by one, with pregnancy and brilliance, as a poet, prose writer and playwright. His plays have a direct openness to politics and have enjoyed the support of the public and critics. He believed in philosophical theater and understood art as the “arm of politics”. Guga's theater is a way of looking at the human condition in relation to the not once aggressive history. The leitmotif of his dramatic creation is formed, precisely because of this, by freedom - the supreme good and the superior form of assertion of dignity.
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The National Theatre Târgu-Mureș and “Vatra” publication developed a close collaboration during the ’70s and the ’80s, representing each of them a place for artistic and ideological shelter for the other. The Romanian section of the Theatre was created in 1962 and after the appearance of the cultural publication Vatra in 1971, it became a devoted mirror for the local theatre, whereas the National Theatre Târgu-Mureș supported the dramatic creation of the publication’s editor in chief, Romulus Guga. This relationship between the two cultural institutions benefited from Romulus Guga’s activity in the National Theatre Târgu-Mureș, as literary secretary, between 1967-1971. Most of his plays were staged by the local theatre, in an attitude of mutual support which proves, once again, the force of cultural resistance during the communist period.
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The cultural policy leadership of the Ceaușescu regime had complete control over all the important matters pertaining to theatre, including programme. It determined in minute detail the category of plays that were permitted on stage. Moreover, it turned contemporary plays into a cornerstone of prosaic theatrical repertoire, in particular the national ones that demonstrated awareness of current issues and social reality. How was this programme policy implemented in the Hungarian department of the theatre in Târgu-Mureș? Was contemporary Hungarian drama included in the repertoire? If yes, did it have any impact on stage practices? These are the questions I intend to answer in a study of productions based on András Sütő`s comedies.
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Our research is based on life-course interviews with Romanian and Hungarian actors. Using the methodology of oral history, we have examined how their individual and professional careers developed during the mentioned period, what social and integration backgrounds actors of the era had, what characteristics they experienced in the theatrical world, how dictatorship affected their lives and how the austerity measures of this period could have been avoided.
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Life history is a term that in the historiography is usually assigned to the Italian school of micro-history. However, it is in fact a concept typical for the natural sciences, where it is a framework designed to examine life history strategies as well as life cycles. Analysis of life history has become the subject of numerous studies around the world and has been gaining in popularity in social sciences. The author presents life history as a possible research strategy for historical studies which allows the incorporation of both natural and cultural approaches. The author draws inspiration for the perspectives of life history research from the examples of recent research into the history of modern Poland.
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Macedonian and Ukrainian histories are in many things identical, because both nations being Slavs, involved in centuries-long struggles to keep the integrity of their territories, their languages, their culture, their tradition and most of all their identity. Geopolitics of the great powers was the same for centuries for both nations: how to divide their territories and to adopt their cultural tradition. Both nations, however never stopped fighting for the acknowledgement of their origin, for the name they rightfully own for millenniums. The Slav people under foreign authority accepted the idea of Slav Federation, pushed through by Slavophile, where all the Slav people would be autonomous and equal without any foreign domination. Being under such a tremendous pressure this idea was acceptable for both Macedonia and Ukraine. This collective input slowed down the development of the national identity with both nations. As Rjabjuk said their "regional" near national identity contributed to creating the multiregional, supranational identity. But the politics of Russia was not equal for all Slav people, like Macedonian and Ukrainian. There for in the middle of the 19 century bout intellectuals live Slavophilia.
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Polish film criticism had tended to react ambivalently and rather disparagingly to Czechoslovak films screened in Polish cinemas since the end of 1947, praising them for their technical aspects, a sense of realistic observation and dealing with the affairs of ordinary people, while on the other hand denouncing their “decrepit style,” “petit bourgeois” tendencies and “sluggish thinking.” A change in attitude took place in the late 1950s when Polish critics rapidly and perspicaciously noted the post-thaw revival symptoms in Czech film-making (treating them, however, as part of a wider, international “new socialist wave”). The films that met with the most lively welcome and garnered the highest scores in Polish press were not those classified as First Wave pictures (such as School for Fathers by Ladislav Helge, Hic Sunt Leones by Václav Krška, or At the Terminus by Ján Kadár and Elmar Klos), but rather such titles as Invention for Destruction by Karel Zeman or Romeo, Juliet and the Darkness and Wolf Trap by Jiří Weiss. Likewise, critics treated Karel Kachyňa’s Smugglers of Death, which came to Polish screens in 1960, as the leading achievement of Czechoslovak cinema, but focused on its entertainment and technical values (considering it a successful action film) while entirely glossing over its origin, ideological content and political message. Polish reviewers believed that Smugglers of Death satisfied the demand for attractive and quality entertainment cinema. Thus, a peculiar shift of emphasis and a certain mystification took place in the reception, as a result of which the film, belonging to a trend in the Czech cinema that revived the mood of suspicion, espionage obsession and confrontation with the West following the 1959 Banská Bystrica conference, was discussed in Poland mostly in terms of its genre and technique as a well-made thriller title. More importantly, however, the focus of journalist attention and high scores for the aforesaid “safe” works of Zeman, Weiss or Kachyňa “glorified” with film festival awards reflect the state of Polish film criticism of the late 1950s and early 1960s. In particular, it reveals the inclinations, reception modes, prophetical intuitions and anachronistic idées fixes of critics, which resulted in the profound misunderstanding, downplaying and overlooking of the novel First Wave works that woke Czechoslovak cinema from its slumber as it attempted to break out of the socialist realism mould through thematic and formal experiments that anticipated the emergence of the New Wave.
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The text is an attempt to discover the relations and influences in three different forms of "Teskoto" - traditional dances, ballet version and its transformation into a Koneski literary work. Respective of traditional dance, which is undergoing many changes in the stage performance, the ballet version, and his literary works were correlated and interact. The paper noted that changes in specific historical, social and cultural conditions are made in the traditional performance needs first stage of the ensemble "Tanec" which contextualise the format of the dance itself. Analyzed and the key conceptual changes present in the ballet version of "Teskoto" in the ballet "Macedonian story" and they are compared with parts of the poetic version. Each of these masterpieces of their own medium (poetic work, traditional dance and ballet version) allow "Teskoto" to become one of those markers of national identity only at the time of the previous social system, but continues to successfully survive in the years of the constitution and creating a new Macedonian state. Chassis only linked the game with specific historical context and helped build the matrices filled with content from various artistic profiles.
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Easter is one of the most important holidays in folk calendar. Its positioning in folk calendar the layers that it brings with it self Easter provides the folklorist opportunities for exploration of different aspects. The emphasis in the text will be placed on the third day of Easter, when in the celebration social games, which have interest of Macedonia folklorists the beginning of last century, especially in terms of their performing, are played. These games were held on the third day of Easter and were known the people as Gachki. Their contents were satirical, tragically and others. The entries for these games which V. Klichkova and V. Iljoski have written the emphasis is on research that treat this part of folk tradition, as a phenomenon that in itself contains numerous theatrical and dramatic elements.
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The Diary of Anne Frank has been translated into more than 70 languages and sold in more than 30 000 000 copies so far which means that it has become one of the most influential books ever. Yugoslavia was one of the first communist states in which the Diary was published, and, at the same time, one of just a few countries in the world that produced the movie based on the book. At the beginning of the 1960̓s Ana Frank has already become a well-known symbol of civil victimhood and suffering during the war and the Holocaust. Over the decades, The newspapers in Yugoslavia were publishing articles about different aspects of the Anne Frank phenomenon regularly, they were interested in different topics such as the post-war activity of Anna's father Otto Frank and his foundation, the trials against the ex-Nazi officer responsible for the arrest and deportation of Frank family, controversies about the authenticity of the Diary, but also the press occasionally took an effort to find Yugoslav citizens who believed to know personally while in concentration camp, but also those whose life story was in some parts similar to the fate of Anne Frank. Despite all the popularity that Anna Frank̕ s Diary has gained, the Yugoslavian culture of remembrance has never succeeded to incorporate some similar domestic examples of victimhood into the collective historical consciousness. The main reason for this was the nature of Yugoslav politics of remembrance that was mostly dedicated to the cult of struggle, resistance, and heroism, while the civil victims were present in commemorative forms only in the form and amount in which the ideology of Revolution and People's Liberation Struggle demanded it.
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The paper shows how the first Yugoslav rock opera Gubec-beg was created, how its spectacular stage production made its way into the repertoire of Zagrebʼs Komedija Theatre and the Vatroslav Lisinski Concert Hall in Zagreb, how important it was for Yugoslav culture at home and cultural diplomacy abroad and for public opinion regarding this performance. The paper is written on the basis of documents from the Archives of Yugoslavia, the Diplomatic Archive of the Ministry of Foreign Affairs of the Republic of Serbia, the domestic press and periodicals (entertainment, music, daily, youth, political, musicological, theatre), and academic and scholarly literature.
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