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This essay uses the method of Tensegrity – a means of dynamic methodological triangulation that allows for open threads and poetic interventions.
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The main objective of the article is to make a comprehensive study of the life and activity of Dr. Vasil Hadjistoyanov-Beron and highlight his contributions to the intellectual development of Bulgaria and the integration of Bulgaria into European science and culture, particularly to the development of Bulgarian science, education, enlightenment and culture. Vasil Hadjistoyanov-Beron was an encyclopedist; he was the compiler of the first Bulgarian textbook on natural history, the first textbook on logic, the first German and French grammar books (in Bulgarian), and the first scholar to make archaeological excavations in Bulgaria. Headmaster of the Bolgrad High School and a member of the Constituent National Assembly that adopted the Tarnovo Constitution (1879), he contributed to the institutional building of the Bulgarian state. The article deals consecutively with his youth years – when some of his views were formed, with the years of his medical practice in Romania, and with his activities in Turnovo and Bolgrad. Particular attention is devoted to his merits for the establishment of the Bulgarian national identity, the awakening of Bulgarian national consciousness, his struggle for an independent Bulgarian church and Bulgarian education. In a separate section, we analyze his book on logic. The text is mainly based on recollections of his youngest daughter, which she shared with her grandson (the author of this article).
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Svako pisanje o Leonardu da Vinciju postavlja problem autoru teksta na koji način i kako pokušati obuhvatiti složenost kreativne ličnosti ovog renesansnog genija. Mnogostrukost profila njegove stvaralačke prirode izmiče mogućnostima da sejasnim konturama izrazi ta složenost umjetnika i znanstvenika, estetičara i matematičara, anatoma i pronalazače, pisca i astronoma, arhitekta i scenografa, skulptora i botaničara, geologa i aeronautičara... »Složeniji i tajanstveniji karakter od njegovog nije postojao - ističe Kenett Clark - i svaki pokušaj uprošćavanja bio bi suprotan svoj aktivnosti njegove misli«. Ugledni engleski likovni kritičar zaključuje kako se Leonardov lik »mijenja kao oblak« i Da Vincija vidi kao »Hamleta povijesti umjetnosti, koga svatko od nas za sebe mora ponovo stvarati«.
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Za bivšu koloniju, dekolonizacija je dijalog s kolonijalnom prošlošću, a ne naprosto uklanjanje kolonijalnih navika i načina života. Složenosti i dvojbe ovog dijaloga zacijelo su najvidljivije u promjenjivim okolnos tima kriketa u onim zemljama koje su nekoć bile dio Britanskog imperija. Na primjeru Indije, kulturni aspekti dekolonizacije dubinski su utjecali na sva područjajavnog života, odjezika i umjetnosti do koncepcija o političkom zastupanju i ekonomskoj pravednosti. u svim većim javnim raspravama u današnjoj Indiji, uvijek se postavlja pitanje što činiti s ostacima i naslagama kolonijalnog naslijeđa. Neke od tih naslaga su institucionalne, a druge ideološke i estetičke.
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У настојању да на позорници прикаже живот у сталном кретању, да потврди онај Декартов creatio continua, парадоксу да се управо мена проматра као константа, Пирандело је сачинио своју разбијачку театарску методологију, која је, незадовољна у његово доба постојећим приказивањем збиље на сцени, циљала на разоткривање позоришне илузије, подвргнула деструкцији драмску особу, која непрестано навлачи и скида маске представљајући се час као лик у драми, час као глумац, приватна особа која глуми задани лик.
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I am eighty years of age and still enjoy the privilege of writing, as this text is witness. Ever since my wife died almost four years ago, I have lived by myself in a large apartment in a Austro- Hungarian building constructed on the eve of the Great War and located on the most popular street in Sarajevo, Ferhadija, a pedestrian zone in the centre of town. The windows in the two largest rooms have a view of Trebević, a legendary hill that enfolds the southern side of the city. It’s spring, but I cannot feel its scent because a tiny virus from Wuhan has me under house arrest, which the authorities have merely legalised through regulations requiring all citizens older than 65 to remain in so-called self-isolation. I don’t feel lonely. On nice days I open my windows wide, and, exposed to the beneficent action of the sun, I watch the rare passers-by in their masks and gloves. The isolation itself is bearable and for many even welcome. People are taking stock and dealing with things outstanding for years. Difficulties, fear, and uncertainty lurk outside your home’s walls, because nobody can say what is happening or how long it will last.
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I am eighty years of age and still enjoy the privilege of writing, as this text is witness. Ever since my wife died almost four years ago, I have lived by myself in a large apartment in a Austro- Hungarian building constructed on the eve of the Great War and located on the most popular street in Sarajevo, Ferhadija, a pedestrian zone in the centre of town. The windows in the two largest rooms have a view of Trebević, a legendary hill that enfolds the southern side of the city. It’s spring, but I cannot feel its scent because a tiny virus from Wuhan has me under house arrest, which the authorities have merely legalised through regulations requiring all citizens older than 65 to remain in so-called self-isolation. I don’t feel lonely. On nice days I open my windows wide, and, exposed to the beneficent action of the sun, I watch the rare passers-by in their masks and gloves. The isolation itself is bearable and for many even welcome. People are taking stock and dealing with things outstanding for years. Difficulties, fear, and uncertainty lurk outside your home’s walls, because nobody can say what is happening or how long it will last.
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It is difficult to understand the executioners of the genocide in Srebrenica. What were they doing? Why were they doing it? What were they thinking? How could they have done what they did? In Srebrenica MCMXCV [2017], Emir Suljagić recounts a testimony from an executioner told to the International Criminal Tribunal for the former Yugoslavia after a massacre near Srebrenica in July 1995: From that pile, that heap of dead bodies that did not resemble human bodies any more, a human being emerged. I said human being, but it was actually a boy, five or six years old. It was unbelievable. Unbelievable. A human being came out and started walking towards a path, a path along which men were standing, doing their job, carrying automatic rifles… And then, out of nowhere they all put their guns down and all of them were just paralysed. And it was only a child in front of them. . . . And this child was covered in the tissue and intestines of other humans . . . And this child emerged from the pile of executed people, calling: «Babo»…. this is their word for father. The boy said, «Babo, where are you?»
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Spektakl otvaranja Europske prijestolnice kulture, koji je uprizoren u velikoj riječkoj luci 1. veljače 2020, u hrvatskoj je javnosti, inače slabo senzibiliziranoj za kulturne projekte te vrste, ovaj put izazvao radikalno neslaganje. Međutim, iza prividno binarne podjele na »desne« kritičare i »lijeve« afirmatore takve dramaturgije otvaranja, čini se, postoji puno suptilnija, zapravo posve neideološka distinkcija, između onih koji su prepoznali diskrepanciju koje takvo otvaranje predstavlja i, s druge strane, istodobno dekonstruira pred očima gledatelja. Kako se ističe u programu otvaranja, cilj je tog spektakla bio, ponajprije, odati poštovanje riječkim radnicima i umjetničkoj avangardi, kao nekim glokalnim vrijednostima na kojima je, uostalom, izgrađena i suvremena Europa.
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The painting presented here represents almost an unicum in Leonardo da Vinci's production as it is one of the very few Master’s works in which are documented historical traces: the article aims to collect all the historical and scientific researches carried out in the past decades that have made it possible to reach an attribution to the Master's hand.The historical events that led to the realization of the painting are complex and here are reported the salient steps and even more intriguing appears to be the technical execution of the painting that is executed in the same years in which Leonardo is engaged in performing The Last Supper commissioned by Ludovico Sforza and in which there are the same technical characteristics; of fundamental importance are also some sketches that Leonardo made in his notebooks and that he will also report in the painting and that refer to the human events of the two people who have linked their name to this painting: Ludovico Sforza and Lucrezia Crivelli.
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The material contains the memories and impressions of one of the prominent Bulgarian historians of the 20th century. In the same time it also uncovers the importance of Hristo Gandev’s scientific work, which was highly praised thanks to the clear thought process and the heuristic charge inherent in his texts.
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Argi dar pavyksta ką nors senoviško užrašyti? – maždaug tokį klausimą išgirsdavau, kai tik kam nors pasisakydavau šią vasarą buvusi folkloro ekspedicijoje Viekšniuose. „Senoviško“, matyt, reiškia tokio folkloro, kuris ankstesniais dešimtmečiais semte semtas per kompleksines ekspedicijas ir kurį dabar paprastai vadiname klasikiniu. Kartais teiraujamasi, ar dar aptinkame ką nors gražaus, tradiciško ir pan., arba nusistebima, kad apskritai dar ko nors ieškome... Esą jau viskas surinkta. Lietuvos kultūrinėje padangėje dar nepriprantama prie minties, kad folkloristai lauko tyrimų metu gali domėtis ne tik senosiomis liaudies dainomis, pasakomis, patarlėmis ar sakmėmis, bet ir sapnais, žmonių gyvenimo istorijomis, tremties atsiminimais, religinės patirties refleksijomis ar net, atrodytų, į jokią „senovę“ nepretenduojančiais ir išties nemaža laiko, garso ir vaizdo įrašų laikmenų reikalaujančiais šiandienos kaimo aktualijų kupinais naratyvais. Ne paslaptis, jog kartais išimtinai klasikiniu liaudies paveldu besižavintieji mano, kad kaupti šias „naujoves“ imamasi tik todėl, kad nieko tradiciškesnio, suprask, senesnio, neberandama. Taip pat neįprastai gali pasirodyti ir tai, kad pateikėju mūsų dienomis gali tapti ne tik garbingo amžiaus senolis, bet ir jaunesnis kaimo ar miestelio gyventojas. Toks požiūris gal nė neturėtų stebinti – juk ir folkloristai dar tik pratinasi prie naujų aktualių tyrimo objektų, mokosi (čia labai praverčia kaimyninių kraštų mokslinis patyrimas) neretai iš esmės kitokio darbo specifikos, skatinančios ne tik fiksuoti išlikusius senojo ar vėlyvesnio tradicinio pasaulėvaizdžio elementus, bet ir gilintis į pačius įvairiausius folklorą supančius bendruomenės gyvenimo kontekstus, kompleksiškai analizuoti kultūrinių tradicijų kaitą.
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Povod i motiv da napišem ovaj članak u "Gračaničkom glasniku" o rahmetli profesoru dr. Halimu Mulaibrahimoviću je mudra izreka: Ono što se zapiše to ostaje. Ono što se pamti to bježi.
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D`abord de XX-ème siècle, dans les paroisses orthodoxes de l´Archidiocèse Orthodoxe Reghin les bibliothèques laïques étaient très insignifiants. En 1906 éxistaient quelques bibliothèques scolaires qui avaient un total de 314 livres. En 1912 la plus importante bibliothèque paroissiale était en Săcalul de Pădure, où étaient 300-400 de livres. En l´année suivant dix paroisses orthodoxes avaient bibliothèque. La plus grande bibliothèque était en Săcalul de Pădure; ici les livres étaient au nombre de 430.En 1913 s´ont fondé les bibliothèques scolaires en Săcalul de Pădure (150 de livres) et en Deleni (73 de livres). Ces livres étaient de litterature, d´économie et d´histoires pour les enfants.Les plus lues et les plus importantes restaient les livres ecclèsiastiques. En 1911 le curé de paroisses orthodoxes Aluniş et Vălenii de Mureş communique les livres existaient dans les deux églises. En l´église de Aluniş étaient 15 livres; les plus anciens étaient de XVII-ème siècle. L´église de Vălenii de Mureş avait neuf livres; le plus ancien etait de 1728. Les documents utilisés pour cette étude proviennent parmi le fond documentaire L´Archidiocèse Orthodoxe Roumaine Reghin, conservé à l´Archives Nationales – la Direction Départementale Mureş.
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