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A manifold of studies in various disciplines have been carried out upon the concept of death, which is the inevitable and mutual fate of all living beings. It can be said that the historical trajectory of studies that seek to understand and explain the psychological reality of death is quite new, even though the phenomenon frequently concerned different fields such as religion, philosophy, art, literature, medicine, biology and law. It is observed that psychological studies concerning death started to attract Western psychologists with the beginning of 20th century, and these studies (thanatology researches) gained momentum since then, getting even more intense by mid-1950s Regardless of the level of development and together with the verbal culture, all societies bear a certain oral culture that is inevitably significant for socio-cultural integration, in the sense that “in the oral culture, the ground of knowledge is human memory”, offering an undeniable prosperity. The concept of death prevails quite commonly in the traditional oral culture of Anatolia as well, with its temporal aspects such as the before, the after and the moment of death. Having a connection with religion and faith, this commonality should also be thought of in relation to further cultural aspects such as respect for the dead, the attitude towards the event of death and the rich cultural history behind. This study will be concerned with unraveling the concept of death within the context of Sivas and through the elements of oral culture and tradition, together with its resonation in faith, social life and societal behavior.
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Fragmentation of Macedonia, as a result of policies pursued by the governments in Belgrade and Athens in 1913, marked the beginning of systematic persecution against the Bulgarian. population in Vardar and Aegean part of this area.
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To have a roof over one’s head was an unattainable dream for many people in Prussia after 1871 in the era of industrialisation and urbanisation. The groups for whom that problem was the most acute were: peasants, agricultural labourers, labourers paid per day, factory workers, craftsmen, poorer white collar workers and low-ranking officials. The dwelling forms were strongly influenced by a growing phenomenon of pauperisation of lower urban classes, industrialisation, an enormous inflow of people into towns, inappropriate nutrition and an inadequate satisfaction of other basic needs. Yet, it was in the 19th century when the bourgeois cultural image of a friendly home was constructed, which has become a space of rest against the threats of the outside world and a basis for the present-day mass concept. But, at that time only members a tiny part of the society managed to get this friendly retreat; for the overwhelming majority their homes were just sleeping places.
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In the article the main aspects of using of innovations in art practices of modernity are analyzed. The author pays attention to the art of theatre, particularly its visualization, cinematography and electronic music. It is underlined that the important peculiarity of the modern art is the openness and its ability to combine the traditions with innovations.In the research the most attention is paid to interactivity of modern art as a means of active influence of a consumer of the fine culture on artistic work of art in specific spatial mode.However, the modern researchers of interactive art can not articulate a clear understanding and basic characteristics of this phenomenon. According to R. Ascot, an English art critic, researcher of innovative trends in contemporary art, the scientists tightly approached to the right understanding only in 1989 when the magazine "Kunstforum" and festival "ArsElectronica" attempted to understand the new artistic direction, and, as it turned out later, "finally and irrevocably brought him into the canon of Western art."Let’s consider more properly the features of the using of communication and computer innovations in modern network art. It is the most important feature of forming of a new space such as cyberculture.In the theater the virtual technologies have manifested the most clearly. An interesting art idea was the idea of virtual theater, which, at first glance, it is not so new as its author is considered to be A. Artaud, a prominent French film director and theatrical critic.In the 90-es of the XX century, The Research Institute of Virtual Realities of Kansas University implemented a series of performances using virtual realityIn 2010 S. Bezrukov, the People's Artist of Russia, launched a new project supported by STD – Russia's first internet-theater "Free Platform". Certainly, we provide various examples of internet technologies in theater, which show us a single thought that the Internet theatre is needed, at least, as a mean of communication. In addition, playwrights often include its ability to plot points, for example, Internet dialogues and other things are projected on theatre backdrops.The use of digital special effects has become a selected story in cinematography and was greatly realized in the movie "Terminator 2" (1991), which won the award for best sound and visual effects. Thus, D. Cameron’s film after "The Abyss" won the director award for "Oscar" for best visual effects again.The popularity of the latest computer technology is evidenced by the fact that all the films of "Star Wars" of the director not only gained the "Oscar" for best visual effects, but also it is planning to translate (all 6 episodes) in the 3D-measurement. Of course, we cannot mention the most recent movie box office of D. Cameron – "Avatar", the creation of which began in the mid of the 90-s.Digital technology has significantly affected the modern music, which also requires today the impact of interactive response from the audience. Thanks to the "digital" e-culture has arisen ("drum'n'bass", "chaos", "easy", "techno"), which has been leading in the non-academic music for four decades.The illustrative example of the combination of tradition and innovation is the admiration of the traditional Ukrainian culture of Oleg Skrupka, a leader of the rock band "Vopli Vydoplyasova". Oleg Skrupka combines folklore groups and rock bands, working with Ukrainian folk material (especially "VV", "Mandry", "Karpatiyans").At first glance, innovative art forms, using all means and possibilities of cyberculture, have just been opposed to traditional art. However, we can see the bucking trend due to the innovations the modern art has become more opened, and therefore it should to develop in the context of artistic quest as traditional as new – and to interact with them.Therefore, we can say that traditions of innovations in the artistic culture manifested in a close relationship, sometimes even promoting creative research to combine artists from different artistic fields, is becoming an important factor in developing its creative expression in the present. This analysis of modern relationships of innovative technologies with art, including theater, cinema, music, shows us that the artistic and aesthetic potential of new technologies are discovered partially. It allows us to say about inventions of new artistic practices in the near future.
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The article discusses the second phase of using the army in the conflict between thegovernment of the Agrarian Union and the IMRO.
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The article summarizes the main opinions on the Macedonian issue spread between the twoworld wars among French political observers and experts on the Balkans.
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The analysis examines the nature of the political system of the Republic of Macedonia - it presents the level of its democracy (polyarchic) in comparative historical perspective(within the last decade).
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The article presents the legal and purely professional activity of one of the founders of the IMARO - Dame Gruev.
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This study traces the development of relations between the Internal Macedonian-Adrianople Revolutionary Organization (IMARO) and specifically one of its creators - Damyan Gruev and the winners of the Serbian national idea in Macedonia, carried out in the form of educational and armed propaganda at the end of XIX and early XX centuries.
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This paper aims to examine the effect of money supply on trade balance in Iran. A simple Kynesian model is modified to account for money market through absorption approach. In this model, the imbalances in the money market are linked to trade balance. After testing series against unit root under structural break, a co-integration relationship among trade balance, real money supply, economic growth and inflation rate was found during 1970-2014. Our findings imply that a positive balance on trade needs to exert contractionary monetary policy, which leads to control of money supply and lowers inflation rate, and adopting proper fiscal policies, and also institutional reforms towards sound macroeconomic environment.
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