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Prilog izučavanju halidijskog ogranka nakšibendijskog tarikata u Sarajevu
The author uses relevant sources and, until now, unknown, original documents, to present to our scientific and cultural audience, for the first time, new information on the ceration and development of the Khalidi branch of the Naqshbandi tariqa of Sarajevo and its tight links with the Ǧabal Abī Qubays Zaviyah of Mecca. The paper focuses on seven letters by two shaykhs of the aforementioned zaviyah – Shaykh Sulaymān ibn Ḥasan Zuhdī and his son ‘Alī Riḍā, sent to Hajji Mustafa-aga Sudžuka of Sarajevo. Shaykh Sulaymān Zuhdī managed the zaviyah in the period of 1271/1854-55 - 1308/1890-91, and his son ‘Alī Riḍā from 1315/1897-98 until it was closed, in the second half of the 20th century. These two pronounced hundreds of shaykhs, through which the Khalidi branch of the Naqshibandi tariqa spread across the Islamic world; from Indonesia in the East to Morocco in the West; from Bosnia in the north to Sudan and Zanzibar in the South. By analyzing the aforementioned letters and identifying the persons mentioned in it, the author discovers the Bosniac heritage of Shaykh Sulaymān Zuhdī and the family, from which he, most likely originates.
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Badly neglected under Communism, the representation of contemporary art in museums over East-Central Europe has markedly improved since the fall of the Iron Curtain. With the number of independent new states multiplied in this region during the past quarter-century, there is today a variety of national canonising institutions of contemporary art. However, the professional level of these collections and their presentation, either as part of large monolithic national art galleries or in separate museums of contemporary art, show vast differences. This paper looks in a comparative approach at the diverging motifs, ranging from international politics to local urban development, and the various solutions that the nearly two dozen countries between the Baltic region and the Balkans have adopted for placing contemporary art in old or new museums.
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The essay contains reflections on the ways of using erudite linguistics, a young discipline created by me, in the study of the Grand Duchy of Lithuania and the Polish Northeastern Borderlands. Correlation of linguistic and extralinguistic conclusions (culture, history, art, gemology) permits us to look in a new way at many facts of the Polish Northeastern Borderlands that linguists had not been interested in before, such as old Polish Northeastern Borderlands museum artifacts, jewelry of Grand Duchy of Lithuania, icon of Our Lady of the Gate of Dawn, cult of the dead in the Polish Northeastern Borderlands, architecture of the old Vilnius, manor house in Czombrów – the prototype of Soplicowo (the village in Pan Tadeusz epic poem), descriptions of Henryk Poddębski’s daguerreotype images, Vilnius identity of Henryk Szylkin or symbolic-figurative nicknames of Vilnius.
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The penetration of ICT in the management and study of material culture and the emergence of digital cultural repositories and linked cultural data in particular are expected to enable new paths in humanities research and new approaches to cultural heritage. Success is contingent upon securing information trustworthiness, long-term preservation, and the ability to re-use, re-combine and re-interpret digital content. In this perspective, we review the use in the cultural heritage domain of digital curation and curation-aware repository systems; achieving semantic interoperability through ontologies; explicitly addressing contextual issues of cultural heritage and humanities information; and the services of digital research infrastructures.
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The paper presents how the VR technology helps tourists in selecting their destinations. The current state-of-the-art service is the result of systematic development activities which has become available in the tourist information office (Tourinform) in the town of Miskolc. The visitors can discover the local sights either on the Web site of the tourist organisation, or in the GUIDE@HAND Miskolc smart phone application, or from now on, in a virtual space due to the Virtual Reality (VR) technology with the help of 3D VR glasses and spherical panorama pictures.
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This paper discusses how 3D digitization of cultural properties and modern interactive methods can help museums disseminate, educate and share the rich history, culture and civilization of museums’ collection more effectively than traditional methods which used visual boards.
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The priceless knowledge from the scientific periodicals, published by Bulgarian museums, has fallen into oblivion over the years. In the era of electronic information, the opportunity arises this once lost knowledge to be made Open Access - free of all restrictions on access. Upon digitilization and correct annotation of the museum paper editions followed by providing them on the Internet for free access, there will be offered scope for a more comprehensive study of the Bulgarian cultural heritage, an integral part of which are the works of its researchers. Registering content in platforms such as Europeana / Bulgariana and setting common standards to facilitate finding the information will be the next challenge for the followers of the idea of cultural heritage digital repositories.
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Over the last several years, we have witnessed an increase in the popularity of oral history among community archives. Accounts are recorded not only by researchers and members of science institutions, as more and more grassroots initiatives (including community archives) start their activity by collecting oral history recordings. Oral history is also present in museums and cultural institutions (libraries, community centres); recordings are made for instance by the Białystok Cultural Centre/Ludwik Zamenhof Centre or Biblioteka Publiczna im. Marii Konopnickiej (the Maria Konopnicka Public Library) in Suwałki. This results from the general availability of recording equipment, but also of grants for documenting the history of a given community, location, profession or group. This trend inevitably invites the question of how these recordings are made, but also what happens to them next with respect to archiving, editing and publication. It should be mentioned here that thus far, in spite of discussions across various institutions (including the Polish Oral History Association), no unified set of rules has been established concerning the publication or editing of oral history recordings.
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An online sketch-map leads to the “discovery” of a forgotten family fonds at the Hungarian National Archives, with interesting data (in Romanian included) on the local communities and the Romanian society during the 60s, 70s and 80s of the 19th century. The engineer Sándor Veress (1828-1884), great personality of both Hungarian emigration and Romanian elites, has left his cartographic and engineering works related to many places of the Old Romanian Kingdom, including large properties of major noble families. The whole family fonds and Sándor Veress sub-fonds are shortly presented in this paper, with the emphasis on the item containing Romanian documents related to his engineering work
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Named as “Nicolò Trevisan. Cronaca di Venezia, continuata da altro Autore sino all’anno 1585, nel mese di Luglio, cioè sino alla morte del Doge Niccolò da Ponte” in the former catalogue of Marciana National Library, this manuscript is dated in the 16th century. It originates in Giacomo Morelli donation (no 55). It is about a codex of 405x275 mm, numbering 352 leaves, written from the beginning to the end by one and the same hand2 or at least one could speak about a tendency towards an orthographic unification . Its numbering is due to both the original version – with Latin figures – and the modern one4 . The text is disposed on two columns, while the main data and facts are emphasized in red ink . F. Thiriet considered that the first 15 leaves include a table of matters that facilitates the lecture and use , but I have personally noted that it covers only pages 1a-13a and is entitled “Tavola delle Rubriche de tutta la presente cronica de Venetia” .
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In the last decade, digitization became one of the most popular activity in the archival world. I do not challenge if this is right or wrong, if all the processing backlogs or issues associated with paper records were solved, so we can move to another level. It is just an observation that almost all discussions about classical archives is departing from appraisal, arrangement, deacidification, etc. towards digitization. In part, this is due to the great advantages implied. Dissemination of archival holdings without reading room timetable or space limitations, the largescale availability of digitizing hardware and software contributed greatly to the popularity of digitization projects. Hence, by using modern technologies, everybody, from individuals and small, but agile archives up to big National Archives institutions could make their holdings more visible to the world. The easiness of access sometimes created also the representation of a simple, straightforward process, and implicitly created the expectation for archives as being “at a click distance” from users. I was involved in the last years in several projects of digitisation; I had the opportunity to see the plans, but also to draw the afterwards conclusions; to read the success receipts and learn from practical failures. And some of my observations I intend to share in this paper.
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It was in 19671 when an exchange of manuscripts took place between Marciana National Library in Venice and Braidense National Library in Milan. According to it, the manuscript that had previously been inventoried as It. VII, 1274-1275 at Marciana, representing an 18th century copy of the former codices It. VII, 49-50, which in the meantime became Braidense AG X 15-16, was released to the Milanese library; in exchange the 15th century original was returned to Marciana2 . The librarians at Marciana did not operate the changings in the catalogues, so that nowadays what is in the inventories It. VII, 1274-1275 is exactly the original of the chronicle dated in the 16th century. As another result of this exchange, what the scholars have regarded around five decades ago as It. VII, 49-50 or Braidense AG X 15-16 is today in the inventory It. VII, 1274-1275. The using paper notes: “Cronaca Veneta ... Zancaruolo. 2 volume”, while the Marcian catalogue “Ital. VII.”, beside the title of “Cronaca Veneta supposta di Gasparo Zancaruolo, dall’origine della Città fino al 1446”, with reference to It. VII, 49-50, one could find the information that it had been “Ceduta alla Biblioteca Nazionale Braidense di Milano (in 1967)” and its provenience is from Girolamo Contarini.
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