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Pieter M. Judson: The Habsburg Empire. A New History. The Belknap Press of the Harvard University Press, Cambridge MA – London, 2016. 567 oldal.
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The Town Council elections in Vilna (Vilnius) were conducted on the basis of the Town Act from 1870. This Act increased the amount of councilors and introduced new institutions, such as the Town Council (the Duma), the Board and the Head of the Town.The election of 1905 resulted in 65% of new councilors being elected, the majority of whom were Polish. Polish advocate Michał Węsławski, who was supported by the majority of the inhabitants of Vilna , was elected Mayor (President). Due to strikes, which were very common at this time, he started serving as Mayor very late, on November 26th 1905. The election of 1909 was a little bit different from the previous ones. In particular, the amount of people entitled to vote was increased to 1048, which was almost 800 more than in 1905. The election took place on May 11th 1909, but because of the protest of Russian electors the Governor decided to annul it and to conduct a new one. It took place on September 9th 1909. In accordance with the earlier decision of the Polish voters, Michał Węsławski was once again elected Mayor. The next election on October 24th 1913 was preceded by a big election campaign. Polish voters were politically divided into many groups, which presented similar programs and even had the same candidates. The non-partisan committee won the election, taking the majority in the Town Council and Michał Węsławski was elected Mayor for the third time.
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Sarajevo assassination and the assassinator Gavrilo Princip have been a subject of a host of artistic pieces including pieces of literature, art, theatre and music for a hundred of years. In this paper, the author investigates the manner in which a great historical topic has affected literature i.e. in what way have the assassination and the participants, led by Gavrilo Princip, been interpreted in literature. The paper further investigates the manner in which, within those interpretations, the historical and literary discourses have been interlaced. This paper is intended to draw attention to divergent perception of Sarajevo assassination and the assassinator Gavrilo Princip within Serbian literature and what are the effects of the event in literature in different social - historical contexts. Finally, we are reaching a conclusion that pieces related to this subject are divided into two groups: on one side there are authors who have used literature as a medium for projection and establishment of what they consider historic truth and, on the other side, there are pieces of literature which have been inspired by that historic event but have kept aesthetic - moral dignity by not becoming a servant of any ideology.
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L’aube du XXe siècle a trouvé les Albanais préparés à mener une existence étatique et politique indépendante. La société albanaise, comme celle des autres pays des Balkans, est parvenu dès le XIXe siècle à créer toutes les prémisses pour former l’État national indépendant. L’indépendance a été précédée par toute une histoire, elle a été préparée avec beaucoup de patience, de courage et d’esprit de responsabilité pour les sorts de la nation pendant des dizaines d’années, au cours de la période de la Renaissance nationale et notamment durant la crise d’Orient des années 1875-1881 et la Ligue albanaise de Prizren (1878-1881). L’activité organisationnelle politique et militaire de la Ligue qui a duré presque quatre ans a non seulement posé la tâche de former l’État albanais, mais a également déployé des efforts en vue de la réaliser, en créant sous la présidence d’Ymer Prizreni et de ses collaborateurs Abdyl Frashëri, Sulejman Vokshi, etc. le Gouvernement provisoire d’Albanie.
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Ahmed Hilmi from Plovdiv (aka Filibeli Ahmed Hilmi Effendi), one of the leading thinkers of Constitutional Era and the owner of and the editor of the Hikmet newspaper, published various articles in his newspaper. Hikmet was a cultural-political and a philosophical newspaper published during the Reformation Period of the Ottoman Empire. This article aims to evaluate Hikmet mainly through Filibeli Ahmed Hilmi Effendi’s constructive articles on the Committee of Union and Progress (CUP), between 21 April 1910 and 21 September 1911, written in a period of dense strife. He also provided valuable points for discussions on moral responsibilities and system critique ranging from democracy, governance and opposition to corruption. Moreover, in this article, issues pertaining to Balkan Wars, which he brought forward right after the newspaper’s reappearance following its closure on 25 October 1912, are taken into deliberate consideration in order to be able to understand his perception of politics of his day.
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This study analyzes the statistical data concerning the inhabitants of the settlements in the Lower Mureş area, from Arad to the Romanian-Hungarian border, meaning from Nădlac (in the north of the Mureş river) to Cenad (in the south part of the river). The Mureş river greatly influenced the settlements in the Arad- Cenad/Nădlac area. The demographical data is analysed from multiple points of view: ethnical, confessional, occupational and social living. The demographical data reveals the reality during the second half of 19th century and the beginning of 20th century.
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This was a man whose fate often took on many strange colours that were at times quite tragic. Having started after the end of the AGSh at the General Staff, like every young graduate of the “General Staff” alma mater, he got carried away by aviation and even flew on dirigibles himself… Our hero succeeded at this “fashionable” occupation in the beginning of the last century so much so that he even headed the air school. However, an inadvertently said word forced him to abandon aviation and return to the path in which he began his service in the Russian Imperial Army, to the army cavalry. The specific situation in which Sergei Ivanovich Odintsov found himself in the spring of 1918 was also that he not only became one of the first “General Staff” officers of the Red Army, but also one of the first victims of the Chekist terror among the Red Army’s General Staff Corps. Once in military service with the Bolsheviks, Sergei Ivanovich was twice arrested and twice saved from prison and returned to the service in the Red Army by the “guardian angel” of the corps of the Red Army General Staff, Chairman of the Revolutionnary Military Soviet of Republic (RVSR), L.D.Trotsky. In his personal life, our protagonist also suffered many troubles: he divorced his wife as early as 1919, and their eldest son lost both legs having fallen under a tram. The author hopes that this article will shed additional light on the biography of another specialist of the Russian and Soviet General Staff, whose apogee of life and military service fell precisely for the years of the “second Russian Troubles” of 1917–1920
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The article is dedicated to personality N. Medtner’s creativity, which penetrates Russian & West-European music cultures. Biographical details of composer's life which affected on formation of individual style of the artist were examined. Composer's individual features of N. Medtner style were revealed with the help of musical piano fairy tale genre, created by him. The main aim of the article is to study an individual composer's stile & it reflects Russian folk imagery and features of West-European musical culture. There were proposed such problems for achievements of the goal: – to highlight the archetypal influence of cultural and biographical roots of N. Medtner on the formation of the individual composing style of the artist; – to identify stylistic originality of the music genre of piano fairy tale created by N. Medtner. Every composer in the process of his creative formation develops his own special intonation and melodic complex with favorite colorful structure, which in due course becomes some type of his mentality. So, such complex of abilities and skills transforms into the personal stylistic manner, definitely characteristic for the artist. On the forming of N. Medtner’s person as an artist his relative roots consisting of Russian and German nations exercise influence on him (N. Medtner was born in Russia, in German family, who lived in Moscow that time). His roots also exercise influence on his thirst and interest for music by J. Bach, W. Mozart, L. Beethoven, R. Shuman, F. Chopin, R. Wagner, poetry by G. Goethe and so on. On opinion of a researcher Apetyan in his work "N. K. Medtner. Memoirs, articles, materials" gives very interesting facts, touching the symbiosis of West-Europenian and Russian culture of N. Medtner creative activity. For 1912, when the first time N. Medtner's songs on poems by Russian poets Tyutcev and Fet were sounded in concert, it was noted in press the beneficial influence of Russian spirit. However, only to the end of the second decade N. Medtner's creative activity the critics began to talk about his Russian nature. One reviews concentrated the attention on his arts as an example of deep synthesis of German and Russian culture, others emphasize that on the ground of "modern Germanium", "from the depth of poor German culture" there was not be born such beautiful, spiritual composing as his "First Concert". Further analysis of the ground of N. Medtner’s art led critics to correct reasoning that N. Medtner organically connected with Russian melodies subconsciously abstaining from the borrowings of folklore. Here it need to be noted that father of N. Medtner (Karl Petrovich, who was born in Parnu, Estonia) was very educated person. He was fond of philosophy, Russian and German literature, poetry, valued poetry of Goethe and this love gave to his children. His passion to Goethe's poetry reflects in future on the creative activity of his son. Composer would write four vocal cyclists on verses by this author, and in 1909 N. Medtner receive Glinka Reward for one of the cycles of the songs on great German poet poems. N. Medtner’s mother was a sister of another great composer F.Gedike, which in turn was an uncle for Nicolay Medtner and studied and prepared him for entering into Moscow conservatory. The fact, that N. Medtner was Russian in his attitude to the world and has German roots, became the reason of the critics and contemporaries called him "Russian Brahms". In fact, these two composers have a lot of general, holding on to the same artistic principles. The base of their composer's mental activity was variability as the most important method of developing themes and polyphonic ways of manners and also improvised metro-rhythm. All the creative activity of those artists was penetrated by impulse of nation and songs. But genesis of N. Medtner's creative activity is not bordered by relationship with German musical culture. In his works he uses classical traditions and principles with romantic. From one side, this is a polyphony of writing, clear form of play, classical seriousness of idea, concentration and exactness its realization. From the another side, it is significant for his composer's style to appeal for genres, typically for romantic creativeness, for example, to a miniature, an interest to folklore arts, which was the favorite program for romantic composers. N. Medtner gave some program name to many fairy tales, parts of sonatas and majority of the sonatas, fairy tale colorize. The most thin lirism have to be related to romantic features of composer's creativity, which becomes complicated by polyrhythm, metro rhythm, satiated with rich and complicated harmony, difficulty of piano facture, intensive employment of chord alliteration and other indications of romantic method of mentality. The conclusion of the article is that N. Medtner’s creative activity have to be studied more carefully.
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The paper demonstrates the change in the topic of Russian literature under the pressure of revolutionary events in Russia from 1917 to 1921. The author considers the gap between the concepts of “land” and “people”, traditionally indivisible in the Russian linguistic image of the world. On the one hand, the “motherland” plays a redemptive role in relation to the people betrayed by her, on the other, being ready to take them into her space, she is more worthy than her people. Historical and biblical analogies are also given in the paper. The author traces the deconstruction of the concept “people” in Russian literature in the 20th century and at the turn of the 20th and the 21st century. She determines the connection of this process not only to the unique history of 20th-century Russia but also to the worldwide globalization process and notes the apparent weakening of the traditional relationship between “lands” and their people. The author analyzes the works written by D. Merezhkovsky, S. Bulgakov, M. Prishvin, A. Remizov, S. Durylin, and M. Voloshin between 1917 and 1920. She uses historical-typological and hermeneutical methods and also conceptual and mythopoetic approaches in her paper.
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The article analyses the spiritual dimension of the concert as a phenomenon, containing the main paradox of the event. On the one hand, we are dealing with the phenomenon of secular culture – a public concert with all its subsequent laws; on the other hand – the liturgical repertoire of sacred concerts maintained Christian traditions throughout its existence. This inherent contradiction between liturgical and concert purposes becomes a starting point for the study of the spiritual dimension of the concert and its main task, which will be investigated in this article. Concert of the Sacred Music is the phenomenon of musical life, which had its own artistic dimension in Ukraine. A deep and sincere love for the spiritual and cultural native Ukrainian traditions, as well as sensitive and singing intellectual soul of Kyiv community brought together activists with uncontrollable desire to promote, update and enrich the spiritual culture of the Ukrainian people. Concert of the Sacred Music in Ukraine was a challenge, a breath of fresh air for people with hunger for deep spirituality. It was specifically the spiritual concert that gave the beginning for the public concerts in their early history. In particular, in France, the place where the spiritual concerts originated from, such events were the first public concerts in the history of French musical culture. The idea of a spiritual concert was to allow anyone to attend the musical performance and appreciate its merits. Paradoxically, the rules of "spiritual concerts" were not too severe. As witnesses point out, the performers could walk around the hall during the concerts, public was allowed to talk, and notes of all kinds were circulated among the people. "Experts" set the tone for the event, shouting their own judgments to the hall, applauding or booing without waiting for the codes. However, this behaviour did not mean the contempt for the music and the musician; on the contrary, it was a sign of attention and sensitive response to the music event. The judgment of taste independent from the aesthetic preference of the king or prince emerges with the introduction of the spiritual concert at the beginning of the XVIII century, which in its turn caused the appearance of the modern figure "music lover". On the other hand, the spiritual concert kept the memory of the aesthetics of Christian worship through its churchly repertoire from the beginning and throughout its existence. Revealingly, the Lent was the season of the spiritual concert season – a time when opera, drama and circus performances were banned, and only spiritual concerts could represent public artistic life. According to observations of cultural experts, spiritual concert was "a secular version of a church service", " a binding element between secular and sacred life" in these circumstances. In this article the author primarily relies on the newspaper Kyyevlyanyn. Namely, the reviews of O. Kanyevtsova, a known Kyiv pianist, theorist and composer, permanent musical correspondent at the newspaper Kyivlyanyn. On the basis of such reviews the researcher concludes that the Kyiv critic was focused on the issues related to the quality of performance of the sacred music: vocal level of professionalism, depth of performance interpretations, development of new choral repertoire, and education issues, acquaintances of musicians and listeners with ancient and modern Russian and Western European music. All the data, which this article relies on, are to be introduced for the science for first time.
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This article deals with the issue of the German background of a declaration of Two Emperors of the 5th of November 1916 which announced restitution of the Polish Kingdom. This background resulted from several separate decision centres: the Reich’s government, the Prussian cabinet (Staatsministerium) and the German Military Headquarters (OHL). Notably, the German government and (to certain degree) the OHL had to overcome the resistance of the Prussian government which regarded the concessions made to Poles excessive and as such posing a threat to the vital Prussian interests (predominantly territorial integrity). In this context, the endeavours to solve the Polish question in Germany during World War I is a clear example of the persistence of particular interests within the Reich and the painful process of ultimate abandoning thereof. The idea of Mitteleuropa provides evidence that “a sense of strategic imagination” (as far as the Polish cause was concerned) was much more vivid among German political writers during WWI than among German political decision-makers of that time. However, there was one important exception to this rule, namely general H. Beseler, head of the German occupation apparatus in Poland (1915–1918). He used to criticise the lack of understanding of the importance of the Polish cause in the Berlin government circles, the OHL and among radical nationalists (the Pan-German League, the German Eastern Marches Society).
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Stanisław Gutowski was a counsellor and diplomat, initially in the service of Russia, then Poland. Before the First World War he was associated with various political communities, but most often he was a delegate of the Poles from “Lithuania and Ruthenia”. During the war, Gutowski went to the United States and France where he actively supported the case of Polish independence. The article presents his unknown memorial written to the political director at the French Minister of Foreign Affairs Pierre de Margerie of 28 May 1918. The document, entitled L’équilibre européen et la Pologne (European balance and Poland) is kept in the Archives du Ministère des Affaires Étrangères Français in Paris. There is no doubt that it is very important from the perspective of the Polish political thought and makes a significant contribution to the knowledge about efforts of the Polish diplomacy to gain the French support. In his document, Gutowski presented both an analysis of the international situation at the end of the war, with special emphasis on the policy of superpowers, and his own suggestions on the place of Poland in the international arena, situation in Russia and predictable future of this state as well as the future of Ukraine and Austro-Hungary. The memorial was analysed in the context of the internal situation of those times and activities of Roman Dmowski and Erazm Piltz in France.
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The aim of this article is to present the activities undertaken by Alexandra Kollontai during her stay in Sweden in 1914. Alexandra was a famous socialist activist at the time, and as a consequence of her activity had to flee Russia in 1908. For the following eight years, she remained in exile. She traveled throughout Europe, but collaborated most closely the with German Social Democrats party. After the I World War began, Kollontai – along with her son, Michael – was arrested. Thanks to an intervention of influential German politicians, both of them were released from jail. Shaken, she broke up her ties with the German socialist movement. Alone, Kollontai traveled to Sweden in September 1914, and moved for good to Stockholm. During the sojourn in Sweden, Kollontai was in touch with one of the most prominent local socialist activists, Hjalmar Branting, and took an active part in the Swedish socialist movement. During her short-term stay in Norway, Kollontai was not formally a supporter of the Bolshevik proposition, but she still wrote letters to Lenin. She also had a love affair with a Bolshevik comrade, Alexander Shliapnikov. The Swedish police arrested Kollontai for participation in anti-military propaganda activities. She was exiled from the country in November 1914, to Copenhagen. Also there, Kollontai managed to establish close relationship with the Bolsheviks. Hereafter, she has played a crucial role in the re-opening of the northern smuggling route.
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The text deals with the question of British involvement in preparation of the Venezuelan Crisis, 1902–1903. The main thesis is that it was British who were more aggressive participant of British-German ‘alliance’ that established blockade of Venezuelan ships and ports in December 1902. Besides, unlike Germany, HM Government’s main motivation was not economic but a prestigious one. The United States did not recognise, both, British dominant role and their true motives so Americans could not prevent the crisis.
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Between the years 1896 and 1914 in the editorial of the „Gazeta Kościańska” — later named „Gazeta Polska” — have worked eleven responsible chief editors. They were: Teodor Bobowski, Ludwik Małolepszy, Stanisław Bednarski, Hieronim Stefanowicz, Jan Teska, Stanisław Rożanowicz, Idzi Świtała, Sylwester Czarnecki, Zygfryd Kąkolewski, Antoni Wolski and Eryk Średzki. Four of them were professional printers and only for short time they did publishing work, five of them were simultaneously active journalist in another editorial, about two other editors was impossible to find any detailed information.
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The main goal of this article is to describe the establishment of the first Lithuanian Republic in 1918 as an ideological project. The focus here is on three ideological systems that are usually treated as closely linked to modern Lithuanian statehood – nationalism, Romanticism and conservatism. First, I deal with the question of nationalism (mostly treated as a form of ethnic nationalism) being the main grounding point for an independent Lithuanian state. I defend the thesis that the discourse of a national-state-building process and nationalism as a main ideological form is too narrow and one-dimensional. It can’t shed light onto the ideological polysemy and the quarrels that took place in 1918 and afterward. The argument is based on the interpretation of nationalism as a thin-centered ideology as it was described by Michael Freeden. The second thesis stresses that collective (national) self-understanding is undeniably important, but this interpretation does not predispose any state-building attempts. It requires a radical reinterpretation and transformation of known political reality, and this can only be achieved with political Romanticism as was described by Carl Schmitt. Finally, I introduce in the question of the place of conservative ideology in the state-building process. Modern Lithuanian statehood was reached through a radical reform of an old political system. That is why conservative thought, which usually stands for traditions and the established order, seems like an unnatural ideological ally for a new Lithuanian state. But if one would treat conservative thought as an ideology dealing with the issue of change and pointing to a natural community and history, it is then possible to find some specific traces of conservative imagination.
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The paper dealing with the fates of men mobilised to fight on the battlefields of the Great War treats them from the aspect of creating new, specific social relations, nets and communities. Having deprived them of their families, relatives and local communities the warfare also caused that many of those who survived were separated from their dearest and nearest not only during the War but also during the years immediately following the conflict. Although these men were cut off from their usual interpersonal relationships, their sociability and need of belonging with a social group did not cease to exist in them. The loss of traditional environment did not inevitably mean an absence of qualitatively analogical relations. The further fates of the soldiers, prisoners of wars and legionaries were marked by new social alternatives with functions similar to the family: they represented an informal sphere of interpersonal communication and cooperation, solidarity and mutual protection, a sphere of spontaneous and close relations. They played an important role in forming strategies of survival in a new social reality. The paper is divided into three parts each linked with the considerable changes that the men mobilised for war could have experienced in their lives between their departure for war and their return to ordinary civilian life. It first points out the basic features of their social adaptation to life (a) in the army and (b) in Russian captivity, which, of course, concerns only some of them. A greater attention is then paid (c) to the social environment and genesis of specific social relations in the Czechoslovak legions in Russia and the impact of this process upon the Slovaks kept in captivity or in the legions. In many respects, the legions (the Czechoslovak ones) represented the final stage of a process denoted by the author as "war socialisation". Its important factor was the spontaneous creation of informal social relationships and nets. To a great extent, they contributed to the formation of life strategies enabling these men to face everyday challenges in a new social reality. The process of new socialisation in the environment of the legions was supported by the existence of a specific alternative community based on close (though rather fictitious) kin relations stimulated by organisational and ideological factors.
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Dadaism is an art movement that emerged in Switzerland after the depression and the destruction caused by the First World War. It highly influenced the world of art with its provocative and dynamic performances and anti-art attitude. Along with Dadaism, ready-made fact had a big impression on art and the perception of art and it became a means of narrative expression. Rimini Protokoll theatre company that was established in 2002 in Germany brought Dadaism's ready-made fact to their own avantgarde theatre which they developed against conventional theatre. This study aims to analyze Rimini Protokoll theatre and the examples of the performances the company produced.
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The city of Erzurum has always been a significant place in Turkish history, yet it has experienced the most stirred days during the National Struggle. It is because after the Armistice of Mondros, when the homeland of Turkish people was exposed to occupation for various reasons, the first stage of national unity was realized here and the rightful cry of Turks rose from here to all over the world. The unique role of Erzurum in that blessed path has been undoubtedly to embrace Mustafa Kemal Pasha in difficult days of his life, unfurling the battle flag against the internal and external enemies who wanted to put an end the presence of the Turks. Erzurum Congress, hosted in Erzurum, constituted the major stage of this struggle by stopping the unjustified occupations, rejecting absolutely mandate and commitment, and adopting full independence as an ideal. For this reason, activities conducted by M. Kemal Pasha in Erzurum for two months played a vital role in rescuing precious homeland from the occupation.
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