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Aboriginal policy in Australia.
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The article tells about the Muslim women’s issue in the years of the First World War and the tribulations of the religious and political elite of the Bosnian Muslims – Bosniaks – in their efforts to protect the traditional moral character of a Muslim woman and stop or slow down the social trends that led to distancing of female generations from a deeply entrenched notion of a virtuous and withdrawn wife, mother and homemaker. Although the crisis of traditional morality was an inevitable consequence of modernization processes which with the arrival of the Austro-Hungarian rule took place in urban areas of Bosnia and Herzegovina at the turn of the nineteenth and twentieth centuries, it was only the First World War that seriously confronted the Muslim society to the extent and implications of the “decline of the Muslim womanhood” which faced extreme difficulties trying to overcome the social problems and moral challenges brought by the reality of the war. Although a part of the elite insisted on the negative impact of European culture as a factor of the present “degeneration” of Muslim women, in the last year of the war the majority of the leading figures of Bosniaks was aware of the fact that the relativity of female morality was primarily a result of the misery and poverty of the war time and not the targeted distancing of Muslim women from the Islamic principles, even though some often pointed to weak religious and home upbringing as a factor that facilitated her moral degradation. By the end of the war the Muslim society only managed to get to know the extent of women’s problems, with no visible effects in the field of concrete solutions.
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The life of Beneš and his first concept about the Austro-Hungarian Monarchy. The author presents it on the base of the thesis of Beneš defended at the University of Dijon in 1908.
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Based on literature and manuscript documents from the 19–20th centuries about educational processes in Catholic and Orthodox seminaries, this article presents a discussion of musical education in three 19th-century institutions: the Lithuanian Seinai, Polish Vilnius and Russian (Orthodox) Vilnius (Lithuanian) priests’ seminaries. The aim is to examine how musical education of priests was organised in the 19th century and the artistic activities in seminaries from different dioceses (Vilnius and Seinai) and confessions (Catholic and Orthodox). The article gives an overview of teaching programmes in the seminaries, the public and concert activities of seminary students, and individual figures. In the Catholic Vilnius diocese seminary in the Russian Empire’s Vilnius general governorate, education was organised in accordance with the general seminary provisions released in 1843 that applied to all Catholic seminaries. The Seinai (Augustavas) diocese belonged to the Kingdom of Poland (and only after the uprising of 1863–1864, to the Warsaw general governorate), thus the afore-mentioned provisions for priests’ education did not apply there. There was no uniform education programme for seminary students in the Kingdom of Poland, and during its entire existence, the preparation of an education plan for the Seiniai seminary depended on the competency of local bishops, the seminary’s leadership and its professors. Compared to other Catholic seminaries, attention to Orthodox education in the Russian Empire was very intense: there were regular educational reforms, study plan reviews, and papers were published on the theme of education. Renowned pedagogues such as Aleksandras Waszkewiczius and Joachimas Glińskis taught singing at the Vilnius seminary. Ignacijus Ivanovas, who taught at the Vilnius (Lithuanian) seminary, is mentioned in sources as a teacher who worked and taught singing in several Vilnius seminaries and religious schools, even being recognised for his activities in this field and granted the title of honorary citizen of the city in 1891. Vilnius city seminary students were regular participants in the city’s concert life, organised church and secular music events, staged drama performances, sang in choirs and performed in instrumental ensembles. At the Seinai seminary meanwhile, Lithuanian nationalist attitudes prevailed: the seminary students compiled Lithuanian books, collected folklore material, recorded the particularities of the Lithuanian languages, prepared Lithuanian religious literature and even assembled a Lithuanian clerical choir. Even though Lithuanian spirit was not outwardly encouraged in the official educational process at the Seinai seminary, it did undoubtedly influence the world view of its future graduate priests.
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The article analyses the 19th-century illustrations of prayer-books intended for the Way of the Cross of 14 Stations. It deals with their origin and authors, discusses the layout principles of such books, the iconography of the images and their artistic form. Some archive data have been found,which indicate that in the 2nd half of the 18th century the Bernardines began spreading the devotion to the Way of the Cross in Lithuania and circulating the prayer-books for the Stations of the Cross. From the end of the 18th to the 1st quarter of the 19th century, special prayer-booksfor the Calvaries of Papilys (did not survive), Tytuvėnai, Skapiškis were printed. A Lithuanian prayer-book (published in 1797) has survived; it was intended for the Way of the Cross consisting of 14 Stations and was republished numerous times. In the middle of the 19th century, when the devotion to the Way of the Cross anchored in parish churches, publications of this nature became more abundant. At that time, the first illustrations appeared in these books; in the beginning they presented various images of the Way of the Sorrows of Christ, and later special sets of illustrations of the 14 Stations were brought from France. The illustrations of the Way of the Cross from Laurent de Berny, Deberny printing house complement the relations between French printing houses and Jósef Zawadski, which are very important to the history of graphic arts.The article investigates the impact of the illustrations on the iconography of the painted cycles of the Way of the Cross. In Lithuania, the engravings of the Way of the Cross by the famous Italian graphic artist P. L. Bombelli were known; they were used to illustrate the prayer-book by St Leonard of Port Maurice, published in Rome in 1904. After this prototype, the cycles of the Passion of Christ of Jonava (by Sidzinewski) and Žemaičių Kalvarija (by J. Szyrma) churches and other surviving paintings were created. The works of this iconography (in particular, the cycle of 14 Stations in the Jonava church) are important not only for the history of iconography and arts, but also for the history of piety as they reveal the links with the European Catholic culture.Unsophisticated engravings by Laurent de Berny, which spread via prayer-books, were popular examples for painters, especially in the 8th decade of the 19th century. Most of the Way of the Cross paintings created after those engravings survived in the Samogitia region (Kuliai, Nemakščiai,Kartena and other churches), some remained in the Užnemunė region (Kaimelis church) and inthe territory of present-day Belarus (Daniushevo church).
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Ohne Zweifel gehört der siebenbürgische Fürst Stephan Bocskay zu den eindrucksvollen Persönlichkeiten der ungarischen Geschichte. Auf dem Heldenplatz in Budapest wurde er anlässlich der Milleniumsfeiern 1896 zusammen mit Stephan I., dem Heiligen, mit Matthias Corvinus, Lajos Kossuth und anderen mit einem Denkmal geehrt. Bocskay gilt noch heute vielen Ungarn als Prototyp des aufsässigen Helden gegen die Übermacht der Habsburger. In der Zeit des ungarischen Nationalismus im 19. Jahrhundert wurden Lieder und Gedichte über ihn verfasst und seine ruhmreichen Taten gepriesen. Die deutschsprachige Geschichtsforschung behandelt ihn jedoch weitgehend stiefmütterlich1. Oft werden seine Taten und der Aufstand, den er an der Spitze der siebenbürgischen Nobilität gegen die Habsburger anführte, nur im Kontext der Widerstandsaktionen des ungarischen Adels gegen die kaiserliche Besatzung betrachtet. Dabei verdient gerade der Aufstand der Jahre 1604/1605 eine gesonderte Betrachtung, nicht zuletzt wegen der umfangreichen Briefkorrespondenz, die der Fürst dazu hinterließ.
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The realism of Bolesław Prus’s novel The Doll [Lalka] has been studied many times in relation to the topography of Warsaw, but his pedantic accuracy also extends to the domain covered by the railway. Contrary to the claims of eminent scholars (such as Józef Bachórz and Stanisław Fita), Prus’s description of Wokulski’s aborted journey to Cracow is perfectly in sync with the timetable from the second half of May 1879. Wokulski’s return from Skierniewice to Warsaw and his earlier suicide attempt also overlap with actual train times. The train timetable appears to be a key text in the interpretation of The Doll. This is a novel about the life of the great metropolis, whose smooth functioning, according to Georg Simmel, demands citizens meticulously to respect the ‘trans-subjective time scheme’ [übersubjektives Zeitschema].
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The spiritual creation of a famous composer Stanisław Moniuszko (1819–1872) is a wide and little analysed subject. The main object of the article is canticles and writings for the organ created in Vilnius period (1839–1858), which are analysed in the general context of his work and creation. The first part of this publication deals with the composer’s spiritual and organ music created in Vilnius period (in the second part I will analyse choral music and such great compositions as mass, cantata, litanies, etc.). The task of the article – to analyse canticles and writings for the organ created by Moniuszko in Vilnius period and evaluate them not only in his personal creation practice but also in the general context of Polish and Lithuanian music history. The article presents new facts of composer’s creativity and specifies the old ones. By way of Moniuszko creation is analysed referring to the bibliography of Vilnius, Warsaw and Moscow also letters written by Moniuszko and other published sources. The aim of this article is to supplement with new ideas and observations the former studies, made by Polish and Lithuanian musicologists about Moniuszko’s creative work. The methods used in the article – historical, comparative and synthesis.
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Fear has always entered the human soul. Aware of this fact, Emile Zola speaks of this emotion in his fictional works, especially his neurotic characters. Thus, either the “crazies”, victims of the breakdown of the time, real hysterical, religious neurosis or the “irregulars of hysteria” and “doubles” of Zola, all are animated by a neurotic, even hysterical fear. Speaking of fear in his neuroses, Zola speaks of his own fears related to his neurosis. Furthermore, the writer offers a remedy to the neurotic fear, remedy that occurs through the pipe of the passions.
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In 1866 the Austrian Kraków fortress was under construction. In preparation for the war with Prussia, it was provisionally completed and equipped in the event of a siege. The crew of the fortress (over 14 thousand soldiers) had the task not only to defend it but also to guard the western Galicia railway. To this end, part of the soldiers were sent to fight in the field. The command of the fortress failed to manage these operations properly and, as a result, despite the victory in the battle of Auschwitz (June 27, 1866), the Austrian troops abandoned the defense of their own railway and concentrated near the Krakow fortress. This situation was used by the weaker Prussian troops (about 6.5 thousand soldiers), who occupied without a fight the border region of Galicia, which enabled the Prussian command to transfer the Hungarian volunteer György Klapka legion to this area; the legion was to begin the anti-Austrian diversion in Hungary. As a result of the rapid end of the Austro-Prussian War, the role of the Kraków fortress and its crew in this conflict was of minor importance. It turned out that the fortress provided sufficient protection for the greater part of Galicia against the Prussian threat, but its field divisions were inefficiently used and had no influence on the course of the war.
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At this article we discuss comparative education as science and define its subject. We look at comparative education through the historical context, but on the other hand we deal with contemporary problems of comparative education and address issues like generating global standards of education, disappearance of national specificities of education, measures of education, relationship between trade market and education, problems of public education, what is interpretation of human capital and new formed competencies and what is the implications of this interpretations. According to us comparative education is the area where problems of education in this global society take place.
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The paper is aimed to show the development of operetta in Vilnius, the heart of musical and theatrical life of Lithuania. The article also intends to include opinions of the general public in Russian Empire and in Vilnius. The author considers the reasons for criticism hostility in the beginning. It also reveals the circumstances in which the operetta took a stable place in the repertoire side by side with the other genres. The paper also strives to survey the body of operetta in terms of its development, change and regional characteristics that become evident when viewed in the general context of the European theatrical life.
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1848 was a turning point in Hungary in all senses of legal development. It is not only the emblematic year of beginning of the constitutional monarchy based on separation of powers, popular sovereignty, governmental responsibility and civil liberties 1848 was a turning point in Hungary in all senses of legal development. It is not only the emblematic year of beginning of the constitutional monarchy based on separation of powers, popular sovereignty, governmental responsibility and civil liberties, but in general, 1848 can be considered as the start year of modern Hungary. From the point of view of private law, the abolition of seigneurial relationship between landlords and peasants and the abrogation of traditional legal institutions of property and inheritance law hindering the free disposition on goods has to be mentioned. After the fall of the 1848 revolution, the introduction of the Austrian civil law also catalysed the process of modernisation, and finally, after 1861, the modern Hungarian private law was born, without the adoption of a civil code, strongly based on the jurisdiction of the courts.
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The article reveals historical and legal aspects of labour justice establishment and development in Ukraine. There is no specialized labour justice in Ukraine. At the same time, since the proclamation of the country’s independence the reform of national judicial system has been continually discussed and is still topical. Is spite of repetitive attempts to change the situation according to call of the times, the system aimed at protection of citizens’ rights, freedoms and interests still needs improvement. According to the Constitution of Ukraine human beings, their life and health, honour and dignity, inviolability and safety are the highest social value, human and civil rights and freedoms determine the essence and orientation of governmental activities. So there is a need for establishment of a judicial system capable to protect, the right to work. The above mentioned facts suggest that a historical and juridical analysis of the process of labour justice establishment in Ukraine needs to be carried out. As it is defined in the Basic Law, the system of courts of general jurisdiction in Ukraine is based on the principles of territoriality and specialization. Thus, specialization of courts is one of the factors of development of Ukraine’s justice. Labour justice, as a rule, is an element of judicial branch of power in most countries all over the world. In Ukraine, however, labour disputes are tried by courts of general jurisdiction. Some labour disputes, namely collective labour disputes, remain beyond the national system of justice. Thus, the aim of the publication is to study historical heritage of establishment and development of labour justice in Ukraine.
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The development of musical education in Lithuania, as well as rises and declines of all cultural life, depended on changes of historical conditions and activity of patrons and local musicians. In the 18th century, most of musical collectives that played in the seats and churches of the country were in hand of those who studied music for a very short time or finished the “schools” of self-educated teachers. A closed system of exercising, when a school of the seat or church prepared forthcoming members only for their own collectives, emerged later and prolonged in Lithuania, and gave tangible benefits since musical education, cherished in a narrow space, grew into a network of musical schools embracing the whole country.Attention in the article is focused on church schools. According to the available archival sources certain groups of schools are noted in the paper, – their activities, educational programs, differences and similarities are considered in comparison with seat schools, etc. The preparation of organists in different schools and the classes of organists are analysed individually.The seat and church schools trained some brilliant musicians. In Lithuania, at the end of the 18th c. and in the 19th c. private and public educational institutions became an important phenomenon in the country’s cultural life. Though modest in the time plane but positively operating, church schools not only raised the artistical level of church musical collectives, but also had a direct influence on the formation and prosperity of Lithuanian musical culture.
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Review of: Н.А. Докучаева ; А.В. Зобнин - «Недаром помнит вся Россия..!» К 200-летию Отечествен- ной войны 1812 года: Каталог предметов из собрания ИГИКМ имени Д. Г. Бурылина / отв. ред.-сост.; авт. ста- тьи Д. Л. Орлов. — Иваново: Издатель Епишева О.В., 2012. — 128 с., илл. ISBN 978-5-904004-36-1
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N. A. Rozhkov's scientific and political activity is investigated. Revealed are the main stages of creative activity of the scientist, his theoretical and methodological views, a peculiar vision of the historical past of Russia by the scientist. Shown are N. A. Rozhkov's views of technology of training and a technique of teaching of history at secondary school. Analyzed are the discussions of Russian historians on evaluation of N. A. Rozhkov's philosophical and methodological approaches. The conclusion is that the careful and objective analysis of a creative heritage of the known historian of the end of the 19th — the beginning of the 20th century is necessary.
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