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The article is a new approach to the position King Ferdinand held in the Romanian society and among European royals. Respectfully spoken about in foreign newspapers, he was a dynamic and elegant presence in Romania. During his time politics, economy and culture had a progressive evolution and there were associated to the King’s vocation and intelligence skills of leadership.
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The article presents the role of memory, which is a base of book Singer. Landscapes of memory. They have been cited in the thesis theorists who deal with the issue scientifically memory, among other things, Pierre Nora. Biography Nobel prize winner based on the traces of the past - both material and the subjective memories. Agata Tuszyńska also analyzed literary creation Singer. It was noted how much writing Tuszyńska is associated with her own identity.
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This article analyses in detail a land register dating from the year 1733 (Sg. 1976) which was found recently in Rome, focusing on its contents and on the wider context of the contents. The manuscript brings furthermore a history of the convent in prose and in vers the translation of which consitutes a part of the article.
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Holokaust v českém samizdatu
This is a Czech translation of ‘“Vergangenheitsbewältigung” auf Tschechisch: Der Holocaust im tschechischen Samizdat’, which is published in Peter Hallama and Stephan Stach (eds), Gegengeschichte: Zweiter Weltkrieg und Holocaust im ostmitteleuropäischen Dissens (Leipzig: Leipziger Universitätsverlag 2015, pp. 237–60). The author analyses representations of the Holocaust in Czech dissident literature published as samizdat in the 1970s and 1980s. He concentrates on historical writings, but also considers journalistic contributions, memoirs, and works of belles-lettres, as well as translations of publications. In particular, the article considers two aspects that highlight the difficulties one faced and continues to face when trying to fully integrate the Holocaust into Czech national history. First, the Holocaust was often understood by the dissidents as evidence of the inhuman nature of totalitarian regimes. This interpretation, however, led to placing the persecution of the Jews by the Nazi regime on the same level as the persecution of the Czechs by the Nazi and Communist regimes. Second, if there was a reassessment or questioning of the Czech national master narrative, then topics such as home-grown antisemitism or the Holocaust were not addressed. The dissidents admitted that Czechoslovakia also had its question of guilt, but they related it to the expulsion of the German minority after the Second World War. The Holocaust, by contrast, did not generate any similar debate among the dissidents. The behaviour of Czechs during the Second World War, the attitude towards Jews, and domestic antisemitism were thus not questioned at all. The Holocaust has, according to the author, therefore tended to be overlooked or, at best, mentioned only incidentally in writing about twentieth-century Czech history – whether the authors published their texts in state-owned publishing houses or in samizdat.
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The constitution of the Evangelical-Lutheran Church in Kingdom of Hungary was established by the 1891-94 synod. This constitution had a tendency towards centralization and greatly restricted the autonomy of the church. The centralized administration rendered it possible for the leaders of the church to reduce the autonomy of Slovak Lutherans, who had majority in the Cis-Danubian district, by redrawing the borders of the districts. In the new districts the Slovak Lutherans found themselves in minority everywhere, losing their influence on decision making.This lead to the Žilina Declaration, which was signed by 68 north-west Hungarian Slovak congregations at the end of 1912 and the beginning of 1913. The declaration criticised the centralization and the concomitant tendencies towards Hungarian linguistic and the ideological nationalization of the church, and it even raised the issue of forming autonomous Slovak districts.The present study analyses the political context of the above mentioned document. The author uses primary sources because the topic lacks historiographical literature. The first research question of the study is whether the co-operation of the Slovak congregations was as an ad-hoc association or, rather, the result of the mobilisation of an institutionalized group. The second research question discusses the various representations of the relevance of the aforementioned congregational co-operation in the Slovak national narrative. In order to answer these questions the author relies on both political science theories and secularisation theories.
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This article explores the phenomenon of the ‘Green Cadres' at the end of the First World War in Austria-Hungary, with a focus on events in western Slovakia 1918-1920. The Green Cadres were bands of army deserters and radicalized peasants who hid in the forests and mountains of the monarchy during the last year of the war and then violently attempted to topple the social-political order in many localities as the state collapsed. The article suggests that they represented both the last major episode of peasant unrest in the region and a radical new attempt by the rural common people to influence the character of national and social politics in the interwar period. The nationalist dimension of this loose social movement appears to have been particularly strong in western Slovakia and may indicate some affiliation with the leaders of Slovak Catholic populism. On the other hand, the inability of nationalist elites to coopt the Green Cadres was in part responsible for their marginalization in narratives of Czechoslovak liberation as well as in contemporary historiography. On the basis of sources in Slovak, Czech, Slovenian, Serbo-Croatian, and German, this study argues that the Slovak case of the Green Cadres fits into a broader transnational phenomenon, which sheds new light on the history of East Central Europe in the twentieth century.
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Texts from: "Sowjetskoje Gossudarstwo i Prawo", Moskau, Nr. 10, 1951 (Original title: Raswitije sowjetskogo sozialistitscheskogo prawa w tschetwertoj stalinskoj pjatiletke) "Sowjetskoje Gossudarstwo i Prawo" , Moskau, Nr. 10/1951 (Original title: Wsaimodejstwije prawa i nrawstwenllosti w sowjetskom sozialistitscheskom obschtschestwe) "Komso.molskaja Prawda1/,Moskau, 19. Oktober 1951 (Original title: Bes blagoslowenija uprawdoma)
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As a result of the archaeological research developed at the Roman settlement of Romula a fragment of a Roman pottery was discovered, which is nowadays preserved in the Museum of Caracal. Here the word ΓΑΔΑΤΗС was incised. D. Tudor considered it a Syrian anthroponym derived from the name of the god Gad, which lead to the formation of numerous Syro-Palmyrean anthroponyms. This opinion was shared by all those who, up to the time being, inserted this graffito in various epigraphic corpora of Dacia, considering it as further evidence of the Syrian presence in Roman Dacia. Yet, the supporters of such a viewpoint did not take into account all the available data which allows us to assert that Gadates is definitely an Iranian anthroponym attested on other sources as following: Xenophon’s Cyropaedia, The Letter of Darius to Gadatas, the Elamite Ka-da-da inscription discovered in the Persepolis fortifications, a Greek inscription from Delos and another Greek inscription from Antiphellos in Lycia pertaining to the Roman period. Xenophon’s Gadatas and the one mentioned in the Letter provide the Iranian character of the anthroponym. Within the Letter, Darius specifically name Gadatas ‘(his) slave’. We encounter this term in the Old Persian variant of the Behistun inscription as comprised in the collocation mana bandaka, meaning ‘my subject’ or ‘my servant’. It exclusively refers to the highest ranked Iranian individuals in the proximity of the Great King. Gadatas anthroponym is probably ahypochoristic derived from Bagadata, a very widespread name in the pre-Islamic Iranian world, having the same meaning with the Greek Theodotos and the Slavic Bogdan, i.e. ‘the Gift of God’. We do not know precisely where Gatates of Romula came from. He could belong to Syria as well, where the Iranian anthroponyms were natural, as the land had been subjected to the Iranian rule for more than two centuries.
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One widespread proverb in Bulgaria, knowing some different versions, says that “Man, who did not passed conscription is not a man”, “A boy, who failed to enter military service is second-hand man”, “A man, who has not walked as a soldier knows nothing”. What exactly is conscription according to public understanding of Bulgarians? What attitudes have the society to compulsory conscription? Frontier of what is the portal on the military unit? These and other issues related to conscription during socialism will be explored.
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The article tackles the issue of pun structures used in love designations (denominations, namings) in Petko Slaveykov’s Anacreontic songs. They have been interpreted as an impulse for a new cultural identity, an accomplished Renaissance articulation of human passions, sympathy sought, joy and delight in everyday life, and thus they have secured P. Slaveykov – at the level of reception and by virtue of the popularity of songbook lyrics, the initial accrual of “literary assets”.
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Undoubtedly, mugham, which is the spiritual heritage of the majority of the eastern nations, in the treasury of the Azerbaijani culture has a special and most prominent due to the fact that this genre reflects the individual periods of formation of development of national consciousness. Rhythms, and the names themselves mugams allow to draw a map of ethnogeographical area where there was a process of formation of Azerbaijani culture.Tremendous value, which represents the mugham, has always been in many nations of the East, especially the Persians, the desire to present it to the world as a national genre, which is based purely Persian musical motifs. Iranian authors' claims of Iranian origin mugham not find much support among historians and musicologists. Systematic study showed that the origin of mugham its roots in ancient India, in the folklore of the ancient Arabs and Turks. Mugam in turn is the genre that brings spiritual peace and a positive mood because of its initial purpose. This nuance has left its traces in the form of classical mugham performance. After mugham that runs entirely consists of different topics, which together form one harmonious melody, that is – "desgah". Separate sections of mugham associated with the presence of human life stages. That is, first performed more fun pace that symbolizes youth , later becoming a slower pace and serious, indicating adulthood. Next executed sad music that makes a person think . These rates hint at an older age. By the end of the rate of re-amplified, that displays death and rebirth, which according to ancient Indian beliefs are happiness and liberation from the perishable world. Speaking about the development of mugham , we must not forget the contribution made by the Turks and Kurds in the formation of national Azerbaijani mugam. Without going into the details enough to remember names such as the mugham "Kurd ovshary", "Bayati – Kurd", "Bayati – Turk" etc. Their emergence and development are inextricably linked with the name of these people, whose psychology is reflected in the dynamics of the performance of these mugam. I wonder what musical genres associated with the name of The Kurds and the musical culture of the neighboring couThe question of continuity with mugham ethnic psychology and founder of Classical affected Azerbaijani music U. Hajibayli "There mugams that inspire a person peace of mind. These include mugams as "Isfahan", "Irag" etc. They prefer to listen to the Persians, and conversely there are mugams as "Neva", "Ushshak" listeners who are Turks. These differ in their mugams dynamics and positive emotions. "Azerbaijani mugham school so successfully rallied those differences together and create a single body that today Azerbaijani per-formers listening very difficult to determine their Persian and Turkic beginning.The same "Mahur", which was mentioned above, because the richest traditions of Azerbaijani culture in spite of his Indian roots reached its perfect form in the interpretation of the Azerbaijani Mugam school. It is no coincidence that it was the name of Azerbaijani performers inextricably related to the emergence of independent form Machura – Orta Ma-hur ("Average Mahur"). In contrast, from the "Mahur – Hindi" "Orta Mahur" riddled with violent spirit that not only inspires positive emotions, but also calls for courage. Because of the latter factor, "Orta Mahur" abounds huge amount of grace (zengyule), and requires the performance of the highest vocal technique. For this reason, not every professional per-former finds the courage to take up the performance of "Orta Mahurntries, especially Turkey and Iran.
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Ivailo Petrov's novel 'Wolf Hunt' is a dramatic saga with a story covering a long and contradictory period of Bulgarian history, from the first years after World War II to 1965. The fates of Ivan Shibilev, Mona Zhendo, Kalcho, Nikolin, Stoyan Kralev and their sons and daoughters intertwine and grow apart in passions and conflicts. This book is the story of people who are born during a totalitarian regime or die, frequently because of what they love. The hunt is the symbol of their thirst for revenge, the Old Testament 'an eye for an eye', with the outcome/redemption being presented as a pain of the soul caused by the loss of human happiness. The study discusses the presence of biblical motifs and images and the manner in which the author of the novel works with them. The moral categories through which each individual considers his/her life are skilfully woven in the book by the careful use of biblical symbols and messages. The characters in 'Wolf Hunt' fully experience the passions and sufferings of the Old Testament characters, thereby redeeming the original human sin.
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Падането на Берлинската стена като глобално иконично събитие
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This paper analyses the critically well-known thesis of Prof. Peter Moutafchiev about the raises and falls in Bulgaria's development. We know that, counting the studies of the Russian scholar Alexander Hilferding, Prof. Moutafchiev came to the conclusion that Bulgaria's development was erratic and did not have periods of "peace" - everything featured rapid progress and equally rapid decline and crises. The Bulgarian scholar cited Serbia as an example of slower for more regular progrss. The author attempts to question the general validity of this opinion. First of all, it was dedicated by the historical period in which Prof. Moutafchiev lived and worked. Then Bulgarian history itself was transmitted under the influence of the notion that it consisted of a series of successes and failures. Serbia could hardly be a comparison factor as the main sources about its development are the vitas of its rulers written by their sons and close relatives. Third, there are hardly societies and countries on a European or world scale that have not been subject to the "historical sine" of which Moutafchiev speaks. The author of the article appeals for abandoning the romantic approach in reconstructing the Bulgarian past, which demands rapid events with a fatal outcome. Instead, he offers a narration based on Fernand Braudel's idea of continuity and longue duree.
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