Technikatörténeti örökség Magyargyerőmonostoron

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the context of historical sciences is up-to-date in the present historiography.This book contains the results of a research in the field of technical history, done at Mănăstireni-Călata. The settlement was recorded by the documents in the XIII-th century, more exactly in the year 1291, with the name of villa Monostor, then in 1446 it is known under the name of Gyerewmonostor, in 1572 as Gerőmonostor and in 1586 as Magyar Gerő Monostor.In the year 1291 the settlement was among the ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Gyerőffy family, owner of lands.From the point view of the settlement’s history the XVI-th and XVII-th centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires – all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The church tower was built and used as a watchtower as well, in the fortified defense system of the settlement.Situated in a beautiful location, through the balance of its proportions and the harmony of its tower, the church can be considered one of the most beautiful places for workmanship belonging to the Reformed Episcopacy of Transylvania. This is the oldest church in the Călata region.From the print of view of the general architectural current the church belongs to the Gothic style, although it also has a series of elements of the Roman style.From the point of view of technical history the counter-fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill the carvers of the time had. Mortar with lime was used as a binding element and this gave the building enough resistance. The church is entirely covered with single.This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the present architecture value of the church.The church tower hosts two liturgical bells. The big one was cast at Târgu Mureş, in 1988 as an exact copy of the old bell, which cracked in 1987. The old bell was cast by the famous bell caster János Andrásofszki from Cluj, in 1778. The smaller bell is the work of Emil Anca from Cluj, and it was cast in 1923.Accompanying the bells is the horologe, built at the special order of the parish in the year 1834, 5 years before the horologe of Văleni was built (Văleni is a village neighbouring Mănăstireni). The name of the builder is unknown, but the place where it was built is Oradea. The horologe is made up of three functional modules.One of the modules is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module marks the hours. The horologe worked till the mid-seventies of the last century. At the moment, the horologe is disassembled and it can be found in the church vestibule.A chapter of the book deals with the presentation of folk architecture’s development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades.The development of the living space is dealt with in a sub-chapter of the book. Here we can come across examples ranging from the simplest living spaces with one room to the more sophisticated ones, organized in an order, specific not only at Mănăstireni, but also to in the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or un-carved spruce masonry, daubed either on one or on both sides. The structure of scaffoldings is detailed and so is the shingle covering that replaced, in a relatively short time, the prevalent straw covering of Călata.Due to its position, in the vicinity of the forest, the settlement was known as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement, too.Another occupation with a technical character and specific in the region was the pottery and the fabrication of glazed tiles for heating stoves. Master Debreczeni Márton becomes famous in this trade in the XIX-th century, with his beautifully decorated glazed tiles.The ironmongers and wheelwrights of the place were famous all over the Călata region and they were active until the 70.-s of the last century.Due to the favourable natural resources for building and using watermills (there are fast brooks passing through the settlement, with a constant flow all year round) many mills, saw mills, reeds and pivas have been built that were both necessary and useful in everyday life. The book describes the structure and operation of watermills which have disappeared perhaps forever.The findings presented in this book are the result of field investigation and document registry study. They demonstrate the fact that although a certain region has been exhaustively studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far. The book has the value of pioneering and is a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Technikatörténeti örökség Kalotaszegen a gótika árnyékában

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

Călata, an area with particular history and folklore, generated a specific, unmistakable architectural style, used especially in the construction of churches. Combining in harmony the Transylvanian tradition of the style and techniques used in the construction of the fortified Saxon churches, those of the Orthodox churches made of wood and of folk architecture in the area, the Călata style refers to churches with slim towers and shingle roofs. Most of these religious buildings, characterized by a perfect harmony of their proportions, most of them built in the Romanesque style and located on the most visible sites of the settlements, represent, even today, the attachment of the inhabitants to spiritual continuity and their homeland in the area of Călata.Five churches, built during the thirteenth and fourteenth centuries, stand out among the complex of such buildings in Călata through the fact that they share a series of architectural elements typical for the late Gothic style, with elements characteristic for the Transylvanian Gothic, with roots leading towards a beginning called the Cârþa Context. It was a puritan Gothic style created in the thirteenth century at the foot of the Southern Carpathians, in the settlement of Cârþa, in Sibiu County. The first Gothic church was built there. The style had been brought by the Cistercian monks in their expansion towards Eastern Europe. The first churches in the south and center of Transylvania were built following the style and building technique employed in the erection of the monastic architectural complex in Cârþa. Prejmer, Hărman, Braºov, Bistriþa and Cluj were the settlements adopting these rules in the building of their own churches.Abandoning the specificities of the Romanesque style, with its robust semicircular arcades, and employing a well-known, traditional building technology, people promoted the newdaring style,with tallwindows, full of light, ending in ogees, decorated with sculpted stone rails. It had ogee-shaped inner vaults, supported by profiled ribs ending in sculpted stone corbels embedded in the church walls and rows of slender pillars.The new style reached Călata later, towards the middle of the fifteenth century.Elements of this style were used in some churches, adapted to the architectural con ditions and dimensions of the existing churches in the area. Five such buildings were extended according to the Gothic architectural style, namely those in Huedin, Mănăstireni, Văleni, Căpuºu Mic, and Dorolþu.The first part of the present book consists of a comparative analysis of these five churches, focusing on the presence of Gothic elements and their preponderance in the complex of the respective edifices. The windows, gates, consolidations with buttresses, ogee vaults, and other stylistic elements are compared, aiming at determining, as much as possible, the motivation of those who promoted the new architectural style in this region.The second part of the book continues the research, from the point of view of the history of technology, with the other three Gothic churches, the ones in Văleni and Mănăstireni being presented in detail in two individual volumes recently published. Archive research and investigations have been performed, but on site measurements predominate. The construction, employed techniques, and stylistic elementsof the three churches, in Huedin, Căpuºu Mic, and Dorolþu were the aim of repeated field trips, measurements, and analyses.The bells in the towers of these three churches are another topic of interest in the present research. The history of these bells and of those preceding them, the circumstances leading to the disappearance of some medieval bells from these towers offer, not only to the authors but also to the reader, a true foray in the past of a craft considered up to the present day a top profession.The nineteenth century clocks placed in three of the five churches under discussion, have been, at the time they were bought, peak accomplishments of technology. The fact that these settlements managed to own clocks indicates that there was a social demand for their installation and there were significant financial resources at hand. The research includes the analysis of the kinematical scheme of these clock mechanisms and a comparison of their stylistic, technical, and technological elements in order to establish their origin.Three churches are thus analyzed in more detail in the present book, but the Gothic elements of the churches in Mănăstireni and Văleni are also presented succinctly for those readers who do not possess the first two volumes of the series which detail the history of technology researches related to the above mentioned settlements.The present volume ends a series of researches in the region of Călata. The three volumes related to the history of technology can be considered as opening new lines of research in the field and for other geographical areas.

Kós Károly, a művészi kovácsoltvas formatervezője

Author(s): László Márton / Language(s): Hungarian

Engineering and creative work of the architect, writer, illustrator, and politician Károly Kós, is analyzed by extensive studies. Spirituality and creativity of Károly Kós, which in all their details are Transylvanians and they are also components of general culture. The architecture of Kós is an essential art, because all its elements, including ornamentation have a central tendency, harmony.In his ornamentation revives the forms of folk art, used in wood carvings, tiles, embroideries of the Szeklerland and Nagykalota regions according to the requirements of material usage.Humans have been using for even over five millennia. In the Middle Ages, the artistic wrought iron used in the structure of European cathedrals is found both in outdoor and indoor spaces. Wrought ironing as an architectural increase, like any other artistic product, reflects the spirituality artistic eras in which it was created.The beginnings of wrought iron use as an architectural ornament relates to the early year of the second millennium, with roots in ancient Greek and Roman era. During the Early Middle Ages, in the Byzantine Christian architecture, this legacy was transposed in a new style, called romantic style.In the twelfth and thirteenth centuries, due to some profound changes a new direction; a new style appeared in architecture, named Gothic. Paintings in the form of semicircular paintings are replaced by broken arch paintings, pointed arch. The changes in construction entail also changes in wrought iron design.In the twelfth century began a radical change in forging ironing due to the use of increasingly large scale water wheel. Heavy hammers of forging workshops are driven by the energy of water wheels.In the fifteenth century, in Italy appears a new artistic trend, the Renaissance. Ancient architectural traditions are found without being copied, and are developed with elements unused by the time. In Transylvania existed all of these conditions as a new style of architecture, to take root and spread rapidly. The art of wrought ironing keeps up with the new architectural style and in the same time creates a characteristically language of expression, in accordance with the architecture.The Renaissance style and the art of wrought ironing as a component of constitutive architecture of the centuries goes in parallel with the past, with a gothic style, but also with the next one, named the Baroque.From an architectural point of view, the era recorded by the history of art is Baroque.The rigorous regular forms, characteristic of Renaissance are followed by irregular style, recorded in the art history as the Baroque style.Nineteenth century is the century in which wrought ironing reached its peak. At the beginning, it could be seen different ways of searching in tradition, inheritance of this art. New styles have arise with an ephemerally lifetime such as empire, romanticism, historizmus, neo-rebirth, neo-baroque, with the respective adherents.As they appear, these styles disappear or remain only as the art of curiosities. Everything happens as a result of industrial development, industrialism, which determines new values and new standard requirements. Art of wrought ironing is to be dominated by commercial elements also creation of this domain is to be limited to single joints.In the second half, of the nineteenth century appears a new style of art, which strongly manifested in architecture and opposes all of the current artists. This trend is secession that is art nouveau. Renounces of the ancient forms are to be followed the model are to be found also in Japanese art and uses ornaments of folk art. Secession as a modern architectural style carries out this recent aesthetic by merging elements of folk art and with Japanese art symbolizes them especially in architecture. Also in the nineteenth century is developing more powerful, the necessity of creating an architectural line, which apart from the current fashion highlights the local national character. The challenges take concrete form in the twentieth century.Historical architectural styles were quickly separated from their place of birth, spreading throughout Europe. National style is the biggest challenge for architects. Since college years, Károly Kós seeks for his path to pursue a career and to be able to create a style of his own. In his architecture dominates large areas, simple, smooth without ornaments. The dimensional proportions of doors and windows, exterior or interior rails of the buildings grids are inseparable parts of the building and make a unique architectural ensemble, specific to the creator. Specific architectural language of the artist opened a way that can be recognized unmistakably without any doubts, over and over again.In Transylvania, the association that gathers craftsmen is guild. In the cities of Fãgãraº, Târgu Mureº, Odorheiu Secuiesc, Miercurea Ciuc, Turda and Aiud are powerfully organizations of guild (strong guild organizations). Here are also included blacksmiths, locksmiths, who deals with wrought iron. During Transylvanian principalities a large number of craftsmen, blacksmiths and locksmiths settled in Sibiu, Braºov, Mediaº, Cluj, Sebeº, Orãºtie. Through their work, these cities have become true centers of wrought iron art. In the nineteenth century it is almost inconceivable that a public building has not got iron elements. Palaces, churches, cathedrals, used increasingly the pieces of wrought iron as the parts of the buildings. Their variety is overwhelming, but even in the twentieth century, the searches, and the experiments in that domain characterize the entire activity.The foundation of our popular medieval art and the architecture, it is our national folk art, said Károly Kós. This actual statement led his whole young life. He declared, that folk art is an organic unity with its creator, the people. Only some people are able to create only spiritually united with the people, the artist can create his own artistic language. He advocates that, Transylvanian folk art is rooted in medieval art.Western European art is to be appeared in Transylvanian, after going through a specific change and became part of the Transylvanian culture and civilization. It is noticed that the carved stones metal objects in for general use have the ornamentation elements of folk art. Therefore, his work can be seen all of the popular ornamentation belongs. All of his works are rustic simplicity, but this simplicity doesn’t reduce its artistic value. Wrought ornate, hinges, handles and shields of them are unique creations, unique buildings to be found.In the field of architecture his activity and philosophy are linked to the spirituality and current architectural of the British architects like John Ruskin, William Morris and Finnish architect Akseli Gallen Kellela. He is an artist, a craftsman and in the same time competent of processing iron. In the design he takes into account these properties of iron.He starts working as an architect in Hungary. Here is he establishing the first project of public buildings, such as the Budapest Zoo Pavilions, the Church in Zebegény, the Parish and prayer house in Óbuda. The District of Veker and the School on Városmajor Street in Budapest, form an architectural unit. Each building is unique in the way in his unmistakable style. Each design is a complete wrought iron work, each element is perfectly lined with the work, which is actually a whole.A feature of his personality is the fact that the projects implemented by Kós are very detailed, with precise construction details. The rustic simplicity, decorative elements of folk art inspired ornamentation features are only summaries of his work. Besides the aspects inspired by folklore, his whole creation has a tendency to evoke a long-forgotten Middle Ages.Handles made of wrought iron are also decorated with motifs taken and processed their own style of the popular art of C?lata and Szeklerland area. Wrought wire handles, shields perfectly match door handles or colonnade of solid oak, with the actually building.In his wanderings in Transylvania he was able to study many relics of medieval construction. Gothic fittings loaded prevailing entire surface of the door has inspired artists in their own style training in the art of wrought iron. The hardware designed by the artist is much simpler, and, at the same time, maintaining the assurance characteristic of safeness and durability. From the house of Stana the hardware shutters are a typical example of rustic hardware.Rails of grids were designed to have dual functionality. On the one hand these provide space limitation function, and on the other hand it embroiders. These gratings are distinguished from any other style through their decorative elements. Birds, stars, flowers, are elements of popular ornamentation.Today, the wrought iron art can have a new revival. Materials are diverse, there are specializations at all levels of education, and there is a model to follow. Creativity of those who practice the wrought iron art today has to meet the customer’s requirements. And only then a productive way will be found, that can benefit everyone.

Kide, a kőből épült település

Author(s): Enikő Bitay,László Márton,Tibor Sándor Nagy,János Talpas / Language(s): Hungarian

The present book is a result of intensive research conducted by the members of the section of technical sciences of the Transylvanian Museum Society. It is the 8th volume of a series, which focuses on the technical history of a small settlement, Chidea.With a history of more than 800 years, Chidea is one of the places where the number of inhabitants is continuously decreasing. The number of people living there used to be close to 800, nowadays there are not more than 140 inhabitants who have permanent residence in the village.Chidea is located in Cluj county, in the valley of the Chidea creek, one of the branches of the Borsa stream. The origin of the name of the village is unknown, it might come from one of the noble men once ruling in the Dabaca region. The first written document mentioning the name of the village, spelled Kyde dates back to 1332, it is a certificate that proves ownership.In the 13th century, the years of the tartar invasion, the fortress of Dabaca and the settlement of Chidea were partially destroyed and the population that couldn't take refuge, was killed.After the withdrawal of the tartars, life went on its course, and the village was trying to recover. To overcome the severe lack of population following the tartars' atrocities, a few dozens of families were brought to the village from the Eastern Region of Transylvania (Hungarian people called Székely) and they took over the defence of the fortress of Dabaca.In Chidea and in its region people have developed a specific craft of shaping the local volcanic (tuff) rock. This rock is relatively easy to work with, and it can be used as building material. Almost everything in Chidea - houses, side buildings (barns, store rooms, warehouses, stables) and even fences have been built of this carved stone.The diverse usage of the stone brought a good name to the local builders and masons who were esteemed even outside the borders of the settlement, throughout Transylvania.Education in the village dates back to the 18th century. Schools were run and supervised either by the state or by the church. Today, after more than 200 years of continuous activity, there isn't any school in the village, owing to the lack of children. The state owned school building was gradually deteriorating, which led to its demolition in the end.In terms of religion, the people from Chidea belong to five denominations. The majority of the population are Reformed, followed by Roman Catholics, Orthodox, Unitarians and Neo-protestants. There are very few parishioners, however each denomination has its own church, or a house of worship. The oldest is the Reformed church, first used by Catholics, then in the 16th century, the period of Reformation - by different protestant denominations. The church was built by the Roman Catholics, as it used to be the religion of the inhabitants in the period.The church was built after 1241, the first tartar invasion, when the previous building was destroyed. The first church of the village was supposedly built about a century before the tartars came.Throughout the years, the church was renovated, repaired and extended several times; the present steeple was raised in the 19th century. Due to some architectural components it is categorized as a medieval church, built in late Gothic style with some Romanesque elements. It is the oldest church in the area.The Orthodox, former Greek Catholic church is built of wood and could be seen as a gem of popular architecture. The church was initially built in a different location, and was pulled on sled to its present place. The church was built at the end of the 18th century.The Unitarian church was built in the 18th century, and the Roman Catholic in the 19th century.The four churches have two bells each, located in the steeples. The oldest of the eight bells is the one in the Reformed church, the so-called Polish bell. According to its inscription, this bell was cast in a town in Poland in 1560 and it was brought (for reasons unknown) to Chidea by Polish refugees, probably after Poland was divided in the 18th and 19th centuries.In the steeple of the Reformed church one can also see a clock, built in 1896 by Szabó József, the mechanic of the Baron Bánffy Ernő from Borsa. The clocks in Borsa and Cristorel - in the valley of Borsa - are also his works. Each clock was engraved with his name and the year of manufacturing. Out of these three, only the one in Chidea is still functional.The mechanic, who made these clocks used innovational techniques in the procedure. Thus he used a pinwheel escapement instead of the Clements regulator, which has a series of advantages in the assembly process. Another peculiarity of the clock is that it uses a snail wheel in the kinematic chain of the clock in order to reduce the number of the cylindrical gearwheels.Another name, the name of the stone carving master Sipos Dávid should also be mentioned. He worked here in Chidea, thus contributing to the fame of the village.He was a true artist with a peculiar choice of ornamental elements, unique in the art of stone carving in Transylvania. Even if his works are singular, they belong to the late Transylvanian Renaissance.His works are found in two of the churches in Chidea, namely a stone carved pulpit in the Roman Catholic church, and a liturgical table in the Orthodox church.There are also stone pulpits presumably from his workshop or disciples in the Unitarian and Reformed churches. This master has carved more than 20 pulpits throughout Transylvania, and also noble coats of arms, emblems, tombstones, door and window arch-ornaments in Cluj, Gherla, etc.In the present book one can read a description of the mill that probably belonged to the writer Nyírő József, a Catholic priest, who - assigned to Chidea - suspended his ministry and worked as the miller of the community for a short while. In the same chapter, one can also read about the manual grounding machines used by the locals for grinding the grains for their animals. It is an important detail that these grinders are handcrafted here in the village, from a rougher type of the same tuff stone, found also nearby.According to its subject the present book could be classified as a work of technical history. In result of the research conducted in the field, the exploration of archive material, and the study of the specific literature we have a more complex image of the village than historians, archaeologists, art historians have formed so far. One could get a full picture of the culture and civilisation of the region only by analysing its diverse complexity.

Egy tudós élet messzire vezető útjai

Author(s): Béla Háda / Language(s): Hungarian Publication Year: 0

Conceiving the University

Author(s): Ronald Barnett / Language(s): English Publication Year: 0

In his indefatigable endeavours, Michael Peters has opened a large and complex terrain. Conceptually, it offers an horizon against which large ideas have been explored, including those of globalization, postmodernism, postpostmodernism, governmentality, ‘knowledge capitalism’ (Peters’ own term), neoliberalism, education, pedagogy, social policy, economic policy, knowledge, culture and openness. Key theorists and thinkers on whom Peters has drawn have included Nietzsche, Heidegger, Foucault, Lyotard, Readings, Derrida, Rorty, and Deleuze. An oeuvre with such scope lends itself to an almost infinite interrogations, and interpretations, even when placed in the themes of this volume – those of education, politics and the cosmopolitan. In this chapter, I shall home in on just one matter, that of understanding the university: just what is it to understand the university? And I shall try to address this question in the spirit – as I glean it – of the breadth of perspectives bequeathed to us by Michael Peters.

Public Deliberation and Biomedical Enhancements

Author(s): Ivan Mladenović / Language(s): English Publication Year: 0

This chapter will consider the significance of public deliberation for decision-making on bioethical issues. In the past couple of decades, deliberative democracy has become the dominant point of view in democratic theory. There is no doubt that bioethics is the field marked by numerous reasonable disagreements. However, some authors have expressed a view that it is precisely because of this that deliberative democracy can be of immense importance in this context. In this chapter, I will primarily discuss the role of public deliberation on human biomedical enhancements. This is the reason why I will discuss the view of Alan Buchanan, who maintains that in order to face problems associated with biomedical enhancements, it is crucially important that there be an appropriate institutional framework.

Разработка методики решения реальных задач на основе применения химических и физических эффектов

Author(s): Vasile Şaragov / Language(s): Russian Publication Year: 0

The technique to solve real problems is offered. The technique consists of five steps:1) recording of the conditions of problem; 2) statement of aim of the problem; 3) identification of the causes of appearance problem; 4) finding ways of solving the problem; 5) analysis of the solutions. The essence and content of each stage is discussed.

Дунайская элегия Руссева

Author(s): Mark E. Tkachuk / Language(s): Russian Publication Year: 0

Ad gloriam

Приятелски и колегиален поздрав към Николай Руссев

Author(s): Valeri Yotov,Alexander Minchev / Language(s): Bulgarian Publication Year: 0

Ad gloriam

Рождение историка-болгариста и общественника

Author(s): Ivan F. Grek / Language(s): Russian Publication Year: 0

«Глубокоуважаемый и дорогой друг Михаил Маркович!» (Хельсинкская коллекция писем Н. Е. Макаренко А. М. Тальгрену)

Author(s): Sergei V. Kuzminykh,Anatolii N. Usachuk / Language(s): Russian Publication Year: 0

This paper is devoted to the publication and analysis of the letters written by N. E. Makarenko to A. M. Talgren in the period from March 1917 till September 1935. The letters are kept in the Manuscript Department of the Finland National Library. The correspondence is divided in three periods: Petrograd period (March—April 1917), Kiev period (October 1925 — March 1934) and Kazan period (September 1935). The subject of the correspondence were publications in the journal “Eurasia Septentrionalis Antiqua”, excavations of the Mariupol burial mound, Makarenko’s efforts to organize the archeological research in Kiev etc. The dramatic events in Makarenko’s private life, such as exile, detention and execution on 4 January 1938 were also reflected in this correspondence. The letters are supplied with comments and notes.

Воспоминания о Марке Борисовиче Щукине, его домашнем семинаре и старых добрых временах

Author(s): Sergey Yu. Kargapoltsev / Language(s): Russian Publication Year: 0

Ad memoriam M. B. Shchukin

Щукин Марк Борисович: Хронология научной жизни

Author(s): Oleg V. Sharov / Language(s): Russian Publication Year: 0

Ad memoriam M. B. Shchukin

Археологическая кухня прошлого века

Author(s): Mark B. Shchukin,Michel Kazanski / Language(s): Russian Publication Year: 0

Correspondence of M. B. Shchukin and M. Kazanski

Parental Roles in The Portrait of a Lady: Matches and Mismatches

Author(s): Nicoleta-Mariana Iftimie / Language(s): English Publication Year: 0

The doctrine of the ‘separation of spheres’, prevalent in 19th century Victorian England, attributed to women the roles of obeying daughters, submissive wives and dutiful mothers. Such roles were to be played within the narrow confines of the house, symbolized by the domestic, private sphere. The ideal woman, the ‘angel in the house’, was seen as a pure, pious, weak, dependent, fragile, self-sacrificing wife and mother. She was bestowed the major role in raising the children and taking care of the house. Men, the bread-winners, belonged to the social or public sphere and were seen as active, independent, strong and dominant.The Portrait of a Lady, belonging to James’ early period of creation and regarded as one of his best novels, introduces a wide gallery of feminine and masculine characters: sisters and brothers, wives and husbands, mothers and fathers. Thus, Isabel Archer, Madame Merle, Lydia Touchett, Mrs. Osmond and Amy Gemini, apart from other roles played in the novel, appear, to a greater or lesser extent as mothers in James’ text. On the other hand, Daniel Tracy Touchett, Gilbert Osmond and Isabel’s father are attributed the role of paternal figures.To what extent do these characters comply with the parental roles attributed by the patriarchal 19th century Victorian society? How motherly are the mothers and how fatherly are the fathers that populate James’ novel? The paper analyses the characters in The Portrait of a Lady in terms of their conformity to and/or departure from the mother and father roles prescribed by the society of the time.

Niekiedy. Dziennik profesora nadzwyczajnego – kontynuacja

Author(s): Paweł Kozłowski / Language(s): Polish

The book, an example of breaking literary conventions, comprises the texts concerning different, often absurd, aspects of reality. It is a critical analysis of academic work, which compels self-reflection and warns against perceiving the world in a stereotypical way and a wordplay, which oversteps the boundaries between the language and imagination.

Тишината има птичи крака

Author(s): Magdalena Kostova-Panayotova / Language(s): Bulgarian Publication Year: 0

Ewolucja. Twórcza moc selekcji

Author(s): Jerzy Dzik / Language(s): Polish

An instructive introduction to the theory of evolution and its applications in biology, physics, chemistry, geology and humanities. The author shows that evolution is a physical process, occurring in geological time dimension, describes how the Darwin’s theory of natural selection works in immunology, neurobiology, sociology as well as in certain aspects of culture and political institutions. He also shows the effects achieved through the action of selection in different areas of biological and social life. He discusses such problems as: the ambiguity of the term “theory of evolution”, the falsifiability of evolutionary hypotheses, connection between evolution and thermodynamics, the concept of reductionism, methodological background of phylogenetics, cladistics, evolutionary developmental biology and homeotic genes, as well as the cumulative nature of social and cultural evolution.

O Institutu za društvena istraživanja Fakulteta političkih nauka Univerziteta u Sarajevu

Author(s): Author Not Specified / Language(s): Bosnian Publication Year: 0

Institut za društvena istraživanja je organizaciona jedinica Fakulteta političkih nauka u Sarajevu, člana Univerziteta u Sarajevu. Institut podržava naučnoistraživački rad kao ključni faktor za razvoj nauke i obrazovanja, za shvatanja društveno-političkih procesa u Bosni i Hercegovini i okruženju, te za stvaranje društva utemeljenog na znanju. [...]