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The questions of connection to European Union in Central Europe at the beginnings of the 21st century . The author of this study analizes these questions in historical context.
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Ancient Egyptian society has specific place in European taught, although it is not so simple to find Egyptian legacy in our culture like we can talk about Roman law, Greek philosophy or The Holy Bible. Nevertheless, Egypt had an important roll in construction of European identity and we can see changes in European historycal and cultural climat by finding evidences of European interest in land of pharaohs. Ancient Greece is extremly important point in that trajectory, because it is the first society of European continent that left written historical traces that speak about contacts between two cultures. Besides that, in 18th and 19th centuries Ancient Greece was the main model of progressive society that developed great works of art, philosophy and culture in broad sense and that is the reason for importance of Greek texts about Egypt. On the other hand, Romans had quite different picture about the land in Nile valley. Egypt apeared in their minds like one more province of their wast state and looked at it in light of resources that will fill up their state tresuary. In the first period of intercultural contacts Ancient Romans had stereotyped ideas about Egypt, because they had plans to conquest land, and Egypt was enemy for them, but after the conquest we can sense dramatic change: Egypt becomes part of Roman everyday life, land that fascinates by her religion, mysticism and treasures. In this work we tried to present all that points of view in classical antiquity and to show that by exploring ancient evidences we can learn lot about past, but also about present and complex paths that crossed in construction of our society today.
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The paper discusses the basic trends in contemporary historiographical studies regarding the so-called “crisis of history”, which took place at the turn of the 19th–20th centuries. The paradigmatic approach to the history of science provides the theoretical basis of research on this problem. New trends and problems that have emerged in historiography over the recent years are connected with the development of scholar and generational approaches, as well as with the study of everyday historiographical life, scholarly communications and interpersonal relationships between historians, historical consciousness, and self-representations of the academic community.
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The report draws attention to insolent and blunt theft by researchers from Macedonia of language and historical facts to present a language that was spoken by majority of the population in the geographical region of Macedonia from the time of its accession to the Bulgarian state to the creation of the so called Macedonian literary language in 1944-1945, to be a Macedonian language (in terms of non-Bulgarian).
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The article focuses on the comparison of two main concepts in the national image of the world of the Buryat-Mongols as it applies to their way of being: the Man of the Steppes and the Man of Water and the Woods. The research is based on the theory of the well-known Russian scholar Georgiĭ Gachev, who connects types of landscape and natural environment to national images of the world. Dwelling around Lake Baikal on the one hand, and at flat steppe territories on the other hand is reflected in two alternative ways of living, as well as images of world and forms of imagination. The author of the article analyzes the two variants of identity, which have always been under the influence of certain geographical and climate factors, economic activities, as well as cultural and historic traditions of various Buryat-Mongol ethnic subgroups.
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It is well known that Gravettian hunters were the best reindeer hunters, while the Epigravettian and Mesolithic hunters especially hunted the red deer. The first explanation consists in the environmental conditions, almost identical in the various regions of Europe, during the periods when these communities lived; archeological excavations undertaken in their establishments allowed determining of several realities: the modalities of locating the habitats (even the habitations); the predilection for the geographic geomorphological areas; the climate micro-episodes (for instance, the periglacial climate for several geographical micro-regions); the usage of hard materials of animal origin – reindeer and red-deer antlers – as supports for implements, weapons, body ornamental items or art objects, even the usage of horns in the field of the funeral rites, etc. The existence of regional variations was noticed: forinstance, in its artistic representations, etc., which are more numerous, Atlantic Europe being dominated by reindeer hunting. In this context, it appears that the red deer is an animal to which a very rich symbolism is attached, so being also the case of the bison or ofthe reindeer in other geographic regions and prehistoric cultures. Therefore, a special attention is paid to the paleozoological finds in the Gravettian and Epipaleolithic – Mesolithic habitat levels, which are also identified throughout the East-Carpathian territory and the Russian Plain. We shall present such finds from Mitoc-Malu Galben and also in other important sites of the considered geographic area, due to their multifunctional character (existence of species as environmental elements, their usage as food, or the usage of the skins and carcasses in constructions, of bonesand horns for artistic creations or in order to arrange cult-related structures). The East-Carpathian territory of Romania, situated between the Eastern Carpathians and the Prut, then the Dniestr, to which the Romanian Plain is added (between the Danube and the Southern Carpathians), is very well studied from the archeological point of view. There were discovered several sites with levels of the Gravettian habitat and belonging to the Epigravettian (of Mediterranean aspect) and to the Mesolithic, with a rich and varied archeological material. Among the fauna remains, the category belonging to the reindeer (Gravettian) and the red deer (Epigravettian-Mesolithic) is the one which dominates statistically. The human communities used the reindeer and the red deer not only for food, as they also used horns for making implements and weapons and as supports forart objects
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The paper presents a detailed analysis of various written evidence and archaeological data testifying to the appearance of cavalry and its function both in warfare and as a social phenomenon in view of its role of attribute of the aristocracy. The study is structured in several principal sub-themes connected with the emergence of the cavalry on the historical scene, the earliest written evidence on a cavalry in Western Asia (Urartu and Assyria in particular), the earliest images of horsemen from Thrace are examined, as well as the earliest written evidence related to the functioning of a cavalry in ancient Thrace. In conclusion, the author stresses that the cavalry appeared in Western Asia at the beginning of the first millennium BC, and was consolidated and perfected during the 9th–7th centuries BC. Its appearance and perfectioning in Thrace are dated to the 8th-6th centuries BC, which is evidenced by the early types of bridles found, and later also by images and written sources suggesting the consolidation of the cavalry during the 6th–5th centuries BC. Its role as a social phenomenon is emphasised, because it was a privilege of the aristocracy. And its emergence and development are associated precisely with its social role.
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Ancient Egyptian civilization has left much of its cultural and artistic heritage in legacy to Rome. Among other things this includes obelisks, giant monolithic monuments carved from red granite. In ancient Egypt they usually stood as pair pillars, in front of the entrances of temples. Because of their shape, they were linked with rays of Sun, being their petrified representation. As such, obelisks made the connection between Earth and Heavens. After conquering Egyptian territory, following the battle of Actium in 31. BC, Romans have began appropriation of Egyptian monuments even more intensively. Octavian August was the first emperor who recognized the potential of obelisks. They could serve him as a powerful instrument of propaganda, emphasizing the fact that he was the one who was responsible for conquering Egypt. Thus, August decided to move the first two obelisks to Rome in 10. BC. First one was set up in centre of Circus Maximus, ancient Roman chariot racing stadium, and the second on Campus Martius where it served as a sundial. Shortly after, other emperors started to follow his example. Caligula, Domitian, Hadrian were some of them. Meanwhile, a new practice emerged, obelisk now could be carved directly in Rome, which was the case with Domitian’s and Hadrian’s obelisks. During the Middle Ages obelisks fell into oblivion, much of them lying in the ruins, for the sake of Ostrogothic siege or earthquakes. It was not until pontificate of Pope Sixtus V (1585-1590) that they once again came into centre of attention. Thanks to his engagement, obelisks were raised once more, but this time as symbols of Christian supremacy.
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The purpose of the research. The article is devoted to a problem of return and a restitution of cultural values in the context of the Ukrainian-American cooperation. The review of the cultural values returned from the USA by the Ukrainian diaspora is carried out. It is analysed a current state of affairs and legislative base in a question of return and a restitution of cultural values within the Ukrainian-American dialogue. The main objectives of the Ministry of Culture of Ukraine in the field of return and a restitution of cultural values are given. The return prospects from the USA to Ukraine of the picture of the famous French artist of the XVIII century Pierre Louis Goudro «Lovers» lost by the National Museum of Arts of Bogdan and Varvara Hanenko during nazi occupation of Kiev in 1943, and graphic works of Yakov Gnizdovsky are designated. The methodology of research is based on a historical method, the analysis and synthesis, a specification and culturological approach. The called methodological ways allow to study concrete culturological measurements of professional activity on return of cultural values, to carry out the art criticism analysis of such values and to define their component in interrelation with the past, present and future. Scientific novelty of the research is that for the first time the author made an attempt of partial systematization of information on the cultural values returned to Ukraine from America, and the analysis of legislative base of two countries in questions of return and restitution of the specified monuments. Conclusions. In modern conditions of eurointegration processes of Ukraine the question of return of cultural values plays extremely great value and is the perspective direction of bilateral cooperation. It is important especially from the perspective of enriching the cultural values of the state, as a result of such activity Ukrainian cultural treasury is replenished with unique works of fine and decorative arts, rare archival materials and book collections.
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Scientific interest of the domestic art criticism to the national cultures of the East and West seems important be-cause this is the way of creating conditions for further cross-cultural contacts of international community. Cultural integration is a global process, which defines the strengthening of cultural, communicational, and civilizational links between national cultures. The achievements of science and art are distributed and absorbed in the modern world, forming its integrity. The problem of the comparative analyses of the Chinese and European music needs a comprehensive research. During the 6-19th centuries in both geographical areas the bright individual cultural and artistic traditions were formed, but their analysis on the level of aesthetic consciousness of the Renaissance and the Middle Ages epochs, the stereotypes of musical think-ing, the typology of musical genre give an opportunity to see the similarity, classified by us as an isochronism. Thus, the first example of the typological isochronism can be seen in a comparison of the Chinese Tang and Sung Dynasties’ poetry and European musical hymnography. On the basis of the research of analogues we can emphasize the division of the medieval period of cultural worlds under study into two qualitatively different phases, where China is represented by the eras of the Tang and Sung Dynasties (the dominance of the literature, music and painting, respectively), while Europe is represented by Byzantium, Britain and Franco-Germanic area (the flourishing of the musical-poetic hymns creation – the art of the troubadours (trouvère) and minnesingers, respectively). The significance of the separate musical think-ing in hymnography and song sphere inspired the birth of ballad-typed theatrical forms in China and Europe (zhugongdiao – "a story accompanied by the musical instrument", "performances" of the troubadours) as well as Yuan drama in China and liturgical drama in Europe in the 13th century. All these factors prove the isochronism on the level of music genre typology.Thus, the next example of the typological isochronism can be seen in the embodiment of the early romantic expression into the artistic system of South Chinese and European musical theater of the 12-16th centuries. The artistic and aesthetic experience of Kunqu opera (Kunshun) and Yuan drama (Zaju) shows that this cultural phenomenon is a unique one in terms of performance techniques, vocal pronunciation, specific features of orchestral accompaniment’s participation in the performance, use of dance elements, acrobatic stunts. The artistic system of Kunqu included dance elements and comic domestic scenes. This system stuck to the general orientation of the art work for the mythological literary themes which can be viewed as the analogy of European liturgical drama and early opera drama with a definite order of the components. Cantilena expression in its aria (singing with instrumental accompaniment) can be paralleled with a song and aria essence of zhugongdiao ballads. They are compared with the lyricism of liturgical dramas and mysteries in the European culture. It has to be said that vocal performances were identical to the ballads of the troubadours and minnesingers. To our mind Chinese opera Kunqu has the same mixture of serious and funny, sacred and domestic, symbolic and realistic elements, and this feature is typical for European, primarily French liturgical drama and mystery of the 12-15th centuries. Kunqu differs from the magnitude of European mystery by the chamber features of music. It is also similar to the early Italian opera by J. Perry and Giulio Caccini and to such opera-mystery as "Rappresentatione di anima et di corpo" by Emilio de Cavalieri.The third example of the typological isochronism of the cultural worlds under research is the artistic and semantic parallelism of Taiping and Galibaldi hymns. This example shows the specific and similar features of song genres of Chinese and European music of the 19th century. The analysis of the sample hymn, created by the Taipings, has proved the idea of the imitation of aesthetic principles of ancient Chinese poetry and music, combined with the use of modern musical and poetic means of expression. The examples of the Chinese genre of hymn creation of the mid-19th century correlate with European song art of the Biedermeier era and Romantic period. Comparative analysis of the Chinese hymns and European songs as for the implementation of philosophical works and national-patriotic ideas, the system of musical expression (into-nation profile, rhythm, harmony, form creation) shows the similarity of the artistic ideas, which is explained by the synchrony in the development of polar cultural worlds. The mentioned above genres reveal the principle of combining the political and artistic creative activities. They integrate the ideas of a high moral aim achievement, patriotic inspiration, and the rejection of life realities, characterized by the romantic aesthetic features in Chinese and European art music.The artistic integrity of Beijing opera Jingju, as a synthesis of dramatic, timbre and imaginative principles, and its comparison with European opera of the 19th century, is based on the dramaturgy of the contrasts, timbres-positions, subordination to the rhetorical theme. It is the fourth example of the typological isochronism of cultural areas under study. The analysis of the Beijing Opera samples in correlation with synchronous European opera performances lets us make a conclusion that there exists a principle of parallelism, in particular, between their systems of the artistic expression. The vocal dramaturgy of the Beijing opera is realized through the male parts. It shows a variety of registers, but it became famous be-cause of falsetto, extremely affective and declamatory singing, which included the natural wide range male timbre. We’ve correlated this style with verism’s declamatory style of the second half of the 19th century. The comparison of the Beijing Opera performances with European samples has shown that they have similar dramatic and plot lines ("Du Shynyan" – "La Traviata" J. Verdi's, "The challenge of family loyalty" – "Taras Bulba" by M. Lysenko, etc). This fact shows the need of the European art works’ analysis in terms of their determination by the rhetorical theme. It is a typological factor of the musical and intonation dramaturgy of the opera drama, usually ignored by the traditional intonation approach.
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Purpose of Article. The purpose of work is to develop a methodological model of Cultural studies of society and culture based on the principles of the systems theory. Methodology. The conceptual methodological core of the research is the system analysis of the socio-cultural objects as complex, multi-level and multi-component systems. Scientific novelty. The scientific novelty of the work lies in the understanding of systems theory from the perspective of issues of the cultural studies. The study is based on a conceptual paradigm: any socio-cultural object is a system, which consists of separate parts, linked by certain relations; the system is in the process of continuous development and interaction with the environment. In the article the author highlights the peculiarities of the system analysis in cultural studies, carries out the classification cultural systems, analyzes the development model of regulated and self-organized systems (synergetic model), and traces process of intercultural communication through the prism of the system analysis. Conclusions. The article shows the potential of systems theory in the field of Cultural studies of the solving theoretical problems (to study laws of the socio-cultural development of a society), as well as the development of the practical projects (a strategy of the state cultural policy, simulation of intercultural interaction in the modern realities etc.).
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The article views the Major acceptable problems of National right , human right and human freedom development carried by International Organization Such as U. N .A ., U.N.E.S.C.O. and others.
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The article describes the features of creativity talented filmmaker who turned to the theatrical tradition of Japa-nese theater "No" borrowed some theatrical techniques that have been handed down to them on the screen, an empha-sis on the relationship between theater and film through the prism of Shakespeare's literary heritage and drama which affected the work of the outstanding Japanese filmmaker Akira Kurosawa, who gave the works of Shakespeare his per-sonal interpretation of Japanese cinematic version.
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