Journal articles on the topic '1883-1924 Criticism and interpretation'

The article discusses outstanding interpretations of the works by F. Nietzsche as represented in Polish educational thought during the “Young Poland” period and the following interwar period. The study aims at elucidating the pedagogical dimensions of Nietsche’s idea in the interpretation of the two periods and at identifying the space within which the concept of the author of Thus spake Zarathustra still remains topical and current. The section devoted to the “Young Poland” period includes an analysis of Jan Kurnatowski’s book Nietsche. Studia i tłumaczenia [Nietzsche. Studies and translations], the one and only work of the period that extracts from the output of the German thinker its strictly pedagogical reflections. The next issue to be presented is a discussion on the journalistic writing that was engaged inNietzschean themes that would be of interest to the present-day pedagogy of culture. Interpretation trends that aimed to discover a universal remedy for the crisis in culture and humanity in the works of the author of Untimely Meditations turned out to be dominant at the time. An approach to the interpretation of Nietzsche’s thought in a wide context of social and cultural interactions made it possible to conclude that the category of Bildungsphilister, castigated by the philosopher, reaches much further beyond just criticism of the contemporary model of education due to the tenability of the notion of Bildumg as the accumulation of cultural capital as it was viewed by Pierre Bourideu. In conclusion of the discussion on the modernist period, the author presents postulations that indicate a need for a shift in the reception emphasis towards directions hitherto unexplored. The section devoted to the interwar period presents the interpretation of the pedagogical thought of Nietzsche presented at the inauguration lecture (on the occasion of Antoni Bolesław Dobrowolski’s acceptance of the chair of pedagogy at Wolna Wszechnica Polska [Free Polish University]) delivered by the professor. The presentation is followed by a discussion on the different approaches presented in various pedagogical encyclopaedias and in Ludwik Chamaj’s Kieruki i prądy pedagogiki współczesnej [Trends and directions in modern pedagogy]. The latter approaches present Nietzsche as an instigator and a prime mover in contemporary intellectual currents and trends and discuss his influence upon individual philosophers, extracting from his philosophical output the notions of “individualism”, “criticism of the traditional educational system” and “irrationalism”. The journalistic writings under investigation fit well into this particular interpretative trend. The discussion on the interwar period is complemented with a reference to a booklet written by Stanisław Besser and entitled: Bohaterowie myśli. Nietsche i Weininger [Heroes of Thought. Nietzsche and Weininger] and an analysis of the article written by Marian Wachowski Wspomnienia z pism pedagogicznych Nietzschego i Grundtviga [Pedagogical reflections in the writings of Nietzsche and Grundtvig], being the only Polish contribution to the discussion on the series of lectures by Nietzsche Ueber die Zukunft unserer Bildungsanstalten

The main focus of Orientalist thought is nothing but to reconstruct and influence Islamic civilization. Their enthusiasm to activate orientalism is increasingly challenged by the presence of Islam as a religion that has followers of most of the world's population. One of the actions of orientalism towards the Islamic world is to start a research movement on the Qur'an and al-Hadith which are the basis of the law and guidelines of Muslims. Not far from the critics of the Qur'an and al-Hadith, they also deconstructed aspects of the development of science, Islamic law, and even the originality of Islamic history. Some famous orientalism figures, one of them is Reinhart Dozy, a famous orientelism from the Netherlands with the concept of literacy in the history of Islamic civilization in Spain. Even though he received a lot of criticism and appreciation from both orientalists and Muslim thinkers, his literary work has had a great influence on Islamic civilization. The discussion steps of this study are entirely carried out using qualitative research that is library research. To be more useful and function properly, this paper is equipped with an explanation using the method of description, interpretation and analysis of data in each discussion. This is done, none other than to focus the discussion to produce a consistent and comprehensive understanding.

This study aims to determine how the history of the Lamajan Hydroelectric Power in 1925, both in terms of the geographical, demographic conditions of Pangalengan and also the components that still exist in Lamajan. Lamajan is a Dutch hydroelectric power plant (PLTA) which was built in 1924 in Pangalengan, Bandung and has been operating since 1925. Lamajan has three generator units, the engine used by Lamajan supplied from the Dutch factories Heemaf and Smit Slikkerveer, initiated by V.H Willem Smith & Co. and R.W.H. Hofstede Crull. The method used in this study is a qualitative method, namely by collecting data through literature and documentation. This method is carried out through four stages namely, heuristics, criticism, interpretation, and historiography. The results of this study show this hydroelectric power plant was built during the Dutch colonial era in 1920-1924 and operated in 1925. This power plant was initially built by a Dutch engineer named Willem Beyerinc K. for the electricity needs of sugar factories but over time was used to illuminate the area of Bandung and its surroundings, this power plant utilizes the flow of water from the Cisarua and Cisangkuy rivers.

Yeats’s Blake criticism of the 1890s hinged on his knowledge of the esoteric and occult systems that he used as his framework for interpretation of the Romantic poet. This article examines The Works of William Blake: Poetic, Symbolic, and Critical (1893) and Yeats’s 1890s reviews of his contemporary Blake critics, as well as his relationship with the mystic poet and artist George William Russell (Æ), whom he repeatedly compared to Blake. Yeats’s emphasis on the importance of Boehme and Swedenborg in Blake’s system had a major influence on Blake’s critical legacy in the twentieth century, such as S. Foster Damon’s approach to Blake in William Blake: His Philosophy and Symbols (1924) and Kathleen Raine’s Blake and Tradition (1969). Yeats’s engagement with Blake in the 1890s also contributed to the popular conception of Blake as a mystic and visionary artist which still continues.

This article reconstructs the theoretical views of a literary historian and critic Ahapii Pylypovych Shamrai (1896—1952) in the context of perception of Oleksandr Potebnia’s philological and linguistic heritage — and at the same time in the context of the development of the formal method and sociological approach in Ukrainian literary criticism in the 1920s. The study offers a detailed analysis of Shamrai’s early work “O. Potebnia and the methodology of the history of literature” (1924) in the connection with Russian formalists’ critical approach to Potebnia’s theoretical ideas. In his early work, Shamrai calls for a rethinking of Potebnia’s theory of the ‘inner form of the word’ and some of his other ideas, which, in his opinion, could be the basement for the further development of Ukrainian and Russian literary theory. Particular attention is paid to the study of a reader (audience) as a major component of literary analysis and interpretation. The idea of ‘studying a reader’ was crucial when Ukrainian scholars tried to combine two theoretical approaches — the formal and sociological methods. One of the best examples of such ‘synthetism’ in Ukrainian literary studies of the 1920s was Shamrai’s textbook “Ukrainian Literature. Brief overview” (1927, 1928), which is discussed in this article. The paper also argues that “synthetism” was inherent to the Ukrainian literary criticism of the 1920s in general. It was a theoretical framework used by many Ukrainian literary scholars, Oleksandr Biletskyi and Borys Jakubskyi being among them. Providing a historical context for Shamrai’s theories, the article also examines the historical and philological ideas of his older contemporary Oleksandr Biletskyi and estimates their influence on the development of Ukrainian literary criticism of that time

The formation of the district of Jember was influenced by Europeans who were interested in establishing a plantation in Jember. Jember which was originally part of the Bondowoso afdeeling then on January 9, 1883 the Governor of the Dutch East Indies made a change to a separate afdeeling and in 1928 the Dutch East Indies government issued a regulation to increase the status to Regentschap Djember as a district. Changes in status caused a large number of migrants to come, especially ethnic Chinese who made their place of residence namely the Chinatown village. The Chinatown area which is located in the city center is not only their place of residence, but their economic activities are also carried out in the area. The objectives to be achieved in this article are: (1) to determine the process of the formation of the Chinatown area in Jember Regency, (2) to determine the influence of the Chinatown area on the spatial planning of the city of Jember, 1930-1970. The method used in this study is a historical research method that contains four points, including: heuristics (data collection), verification (source criticism), interpretation, and historiography.

Penelitian ini bertujuan untuk mengetahui latar belakang perjuangan Hasan Al-Banna, bentuk perjuangan Hasan Al-Bannna mengembalikan kejayaan khilafah hingga dampak dari perjuangan Hasan Al-Banna mengembalikan kejayaan Khilafah. Penelitian ini bersifat deskriptif analitik dengan menggunakan metode penelitian sejarah, yaitu heuristik, kritik sumber, interpretasi dan historiografi. Metode pengumpulan data dilakukan dengan cara melakukan penelitian pustaka melalui buku-buku atau literatur terkait dengan obyek yang diteliti atau dokumen pendukung seperti jurnal dan artikel. Hasil penelitian menunjukkan bahwa Hasan Al-Banna adalah tokoh Islam kontemporer yang mempunyai visi besar terhadap umat Islam khususnya di Mesir. Dimana, saat runtuhnya Khilafah Turki Usmani tanggal 3 Maret 1924 yang menyebabkan munculnya persoalan kaum muslimin mulai dari kolonialisme, konflik di Negara Dunia Ketiga, persoalan ekonomi, politik dan sosial budaya. Dalam kondisi Mesir inilah Hasan Al-Banna memulai pembaharuannya, melalui dakwah-dakwah yang dilakukakannya bersama organisasi yang didirikannya yaitu Ikhwanul Muslimin, organisasi yang didirikan sebagai wadah perjuangan Hasan al-Banna bersama sahabat-sahabatnya dalam melancarkan risalah dakwah. Dampak dari adanya kegigihan dan perjuangannya yang kemudian membuat organisasi ini menjelma sebagai kekuatan politik yang dikagumi di Mesir dan dunia Arab. Akhir dari penelitian, disimpulan bahwa Hasan Al-Banna melalui organisasi dakwah yang didirikannya dengan segala kegigihannya telah berjuang untuk menegakkan agama Islam. Hasan Al-Banna menghabiskan hidupnya hanya untuk berdakwah untuk memperjuangkan syariat Islam agar dapat Jaya kembali.Kata Kunci : Perjuangan, Hasan Al-Banna, Ikhwanul MusliminAbtract This study aims to determine the background of Hasan Al-Banna's struggle, the form of Hasan Al-Bannna's struggle to restore the glory of the Caliphate to the impact of Hasan Al-Banna's struggle to restore the glory of the Caliphate. This research is descriptive analytic using historical research methods, namely heuristics, source criticism, interpretation and historiography. The method of data collection is done by conducting library research through books or literature related to the object under study or supporting documents such as journals and articles. The results show that Hasan Al-Banna is a contemporary Islamic figure who has a great vision for Muslims, especially in Egypt. Where, when the collapse of the Ottoman Caliphate on March 3, 1924 which led to the emergence of problems for Muslims ranging from colonialism, conflicts in Third World Countries, economic, political and socio-cultural issues. It was in this Egyptian condition that Hasan Al-Banna began his renewal, through the da'wah he carried out with the organization he founded, namely the Muslim Brotherhood, an organization founded as a forum for Hasan al-Banna's struggle with his friends in launching a message of da'wah. It was the impact of his persistence and struggle that later made this organization transformed into a political force admired in Egypt and the Arab world. At the end of the study, it was concluded that Hasan Al-Banna through the da'wah organization he founded with all his tenacity had struggled to uphold the religion of Islam. Hasan Al-Banna spent his life just preaching to fight for Islamic law in order to get Jaya back.Keywords: Struggle, Hasan Al-Banna, Ikhwanul Muslimim

Gerakan kepanduan pernah meledak di Afdeling Batipuh X dan Priaman di awal abad ke-20. Tulisan ini bertujuan menganalisis hadirnya gerakan kepanduan dengan segala dinamikanya. Gerakan kepanduan ini beberapa kali melakukan gebrakan serta tuntutan Indonesia merdeka yang mereka suarakan langsung dari Padang Panjang. Mulai dari gerakan protes, hingga membentuk Pendidikan Nasional Indonesia, atau dikenal dengan istilah PNI Baru Hatta-Sjahrir. Tulisan ini disusun berdasarkan kaidah metode sejarah –dimulai dengan heuristik, kritik, interpretasi, dan historiografi. Padvinders di Padang Panjang telah dimulai sejak tahun 1924. Gerakan yang hadir di Padang Panjang antara lain International Padvinders Organitatie, El-Hilaal, Hizbul Wathan, dan Kepanduan Indonesia Muslim (KIM). Masing-masing kepanduan lahir dari sekolah-sekolah yang muncul sejak awal abad ke-20, kemudian bermetamorfosis menjadi sebuah gerakan politik. Gerakan politik KIM menjadi PNI Baru, telah mengubah paradigma kepanduan –yang selama ini hanya dianggap sebagai kegiatan ekstrakurikuler sekolah. The scout movement rose to fame in the afdeling of Batipuh X and Priaman in the early 20th century. This paper is designed to analyze the presence of the scout movement and related matters. It had constituted a break with years of colonial era and pushed for an independent Indonesia, which they voiced directly from Padang Panjang. The movements they organized was from the protest movement to the formation of the Pendidikan Nasional Indonesia or more popularly known as the PNI Baru Hatta – Sjahrir. The paper is organized according to the standard historical method rules; heuristics, criticism, interpretation, and historiography. The scout movement, it all started in Padang Panjang in 1924. The International Padvinders Organitatie, the El-Hilaal, the Hizbul Wathan, and the Kepanduan Indonesia Muslim (KIM) were around then. They were originally established in schools at the beginning of the 20th century who transformed into the political movement then. KIM, which turned into a political movement or known as PNI Baru, has changed the scouting paradigm, which so far has only been regarded as the extracurricular school activity.

The article under studies is a critical survey of the activities of a Swiss scholar Juozas Eretas (1896–1984), one of the founders of Lithuanian Literary Studies, whose origin is closely related to the revival of the Lithuanian State (1918 р). Raised on the principles of the so-called Fribourg School, J. Eretas may be regarded as a vivid example of a catholic scientist. He emphasized the importance of the connection between research and thinking. In the 20-30s, having mastered the Lithuanian language, under the influence of the first translations of the world literary works into Lithuanian, Eretas laid the foundation of analytical criticism. He also took up the translation and, at the same time, became the founder of Lithuanian Germanic Studies, paying most of his attention to the Medieval German Literature, the heritage of mystics, the literature of “storm and drive”, particularly the works by Goethe and Schiller. In addition, Eretas made a considerable contribution to Lithuanian Theory of Literature: “Creating Philosophical Criticism in Literature” (lecture, 1922), “Philosophy and Poetry” (1924), “Methods of Literary Analysis” (1929). Eretas’ approach to German Literature was purely conceptual and rested on the idea of its universal nature (especially concerning Goethe): monographs “Young Goethe” (1932) and “Goethe Hundred Years Later” (1933). It is worth mentioning Eretas’ attitude to Goethe’s “Faust”. He interprets the main character typologically, as an eternal image of the world culture, pointing hereby to the increased attention to this image during the epoch of “storm and drive”. Eretas’ interpretation of the images of Faust and Mephistopheles, which present the idea of “dual world” that is so peculiar for Romanticism, seems very interesting and promising. Besides, Eretas was first in Lithuanian Literary Studies to refer to Goethe’s “Wilhelm Meister’s Apprenticeship” as to the novel of upbringing. Another significant subject of Eretas’ research was the History of World Mystics (the work “From the History of Mystics”, as well as the monographs on Tauler, Eckhart and Suso).

The article is devoted to the problem of interpretation of the well-known Yesenin lines about N. A. Klyuev in the poem “In the Caucasus”. In literary criticism, the point of view has been established, according to which the eleventh verse of the poem by S. A. Yesenin contains a well-known “epigrammatic definition” expressing the extremely sharp “negative attitude” of the poet towards his former mentor. The systemic analysis of Yesenin’s poetic definitions of Klyuev, “gentle apostle” (“O muse, my flexible friend...”, 1917) and “Ladoga deacon” (“In the Caucasus”, 1924) in the historical and literary context, made it possible to find their close semantic correlation and identify the lines about Klyuev in the poem “In the Caucasus” as the author’s self-irony, expressed in the form of a comic demotion of his former teacher. It is proved that in the poem “In the Caucasus”, ironically putting himself in the place of a “dead canary”, a poet who categorically does not accept imitation in poetry, not only declares that singing “from the voice of someone else” is destructive for any talent, but also clearly makes it known that he is “not a canary,” imitating Klyuev, that their paths diverged long ago, that the canary in him “died” in his youth; and the self-ironic, harmless lines about his mentor in the poem “In the Caucasus” testify to Yesenin’s creative maturity as a great national poet who has comprehended his significance and place in Russian Parnassus.

This research is motivated by the reform movement of Islamic education in Minangkabau at the beginning of the 20th century carried out by Zainuddin Labay el-Yunusy which has influenced modernization in Minangkabau which has had an impact to this day. This paper discusses the efforts made by Zainuddin Labay el-Yunusy in reforming Islamic education in Minangkabau in the early 20th century. This research is a library research using historical research methods consisting of heuristics, source criticism, interpretation and historiography by collecting primary and secondary sources from the literature. Zainuddin Labay el-Yunusy was born to Sheikh Muhammad Yunus al-Khalidiyah and Rafi'ah in 1890 in the Bukit Surungan district of Padang Panjang, coinciding with the 12th Rajab 1308 H and died on July 10, 1924 AD/8 Dzulhijjah 1342 H. Since childhood Zainuddin Labay was educated by his father who was also a scholar and then entered HIS, but did not graduate because he felt that he fit into the Dutch education curriculum. Furthermore, Zainuddin Labay studied with well-known educational figures in Minangkabau such as H. Rasul and Dr. Abdullah Ahmad in Padang. Zainuddin Labay has a very important role in reforming Islamic education in Minangkabau, among other things establishing the Diniyah School by incorporating general subjects into the Islamic education curriculum, fighting for the rights of Minangkabau women to obtain education, and forming a generation of Islam in Minangkabau. The reforms carried out by Zainuddin Labay towards Islamic education in Minangkabau inspired the establishment of modern Islamic education such as Diniyah Puteri Padang Panjang, changing the halaqah education system to become classical, and producing educational media. Keywords: Renewal, Islamic Education, Minangkabau.

Grundtvig på anklagebænken[Grundtvig in the dock]By Kim Arne PedersenThe article opens with a review of Gr’s position after the second World War. The Heretica-era’s positive disposition towards religion and Christianity is inspired by the life-philosophy of Vilhelm Grønbech which in turn serves as a preliminary understanding of Gr’s thinking on the relationship between Christianity and folkelighed, the nourishing of a popular culture. Four significant currents have characterised Danish identity: Grundtvigianism, pietism, Brandes-influenced cultural radicalism and the social-democratic movement. Social-democratic thinking on social equality is examined in connection with the Grundtvigian-tendency’s elevation of the concept of folkelighed.With Reinhart Kosellek’s concept-historical methodology as aprompt, the Grundtvig-based concept offolkelighed is analysed in its association with the concept of liberty, ideas of social equilibrium, the question of a Constitution, and the concept of popular enlightenment (oplysning) in Gr’s authorship. The starting-point is an analysis of Gr’s ideas on Christianity andfolkelighed where it is pointed out that Gr, with his background in a Christian anthropology, emphasises their reciprocal bearing upon each other (vekselvirkning). The chief aim of the article is to demonstrate that the reception of Gr in the period 1883-1983 is characterised by a contest between, on the one hand, a philosophical interpretation of Gr which is linked with an understanding of the folkelighed-concept as an aspiration towards social equality and, on the other hand, a theological interpretation of Gr which concentrates upon humankind’s interaction with God in dialogue as the nub of Gr’s outlook on humankind.The article focuses upon the 1930s, when the social-democratic Education Minister Frederik Borgbjerg seizes upon the egalitarian aspect of Gr’s concept of folkelighed and uses it in the development of Social-Democracy into a national party. Borgberg’s interpretation of Gr embraces those components which characterise the following generation’s image of Gr: he is the supporter of liberty (and thereby tolerance), democracy and social equality, all as understood from their basis in the concept of folkelighed.Borgberg’s and Grønbech’s interpretations of Gr constitute the background to the understanding formed by Professor Hal Koch, church-historian and pillar of the folk-highschool system, of both Gr and the concept offolkelighed. But it is to be emphasised that Koch, in contrast to Borgberg and Grønbech, but in line with the author Jørgen Bukdahl, draws his understanding of the concept offolkelighed from the idea that the interaction between folkelighed and Christianity - that is, between the particular and the universal - is the underpinning perception in Gr’s writings.However, in the post-war period it is the thoughts of Pastor Kaj Thaning concerning the differentiation between Christianity and folkelighed which become dominant. Like Hal Koch, Thaning writes out of inspiration from the life-philosophy of Grønbech, but also like Koch he traces this back to its anchorage within Gr’s Christian universe.Thaning’s differentiation-thesis forms - against his own wishes – a starting-point for the 1970s convergence between the ideas of Gr and left-wing thinking on political emancipation, whereby the tendency from the 1930s now reaches its culmination: grounded in the construction of an adversarial relationship between Gr and grundtvigianism, and in a non-theological interpretation of Gr, the way is clear for Gr to become the leading figure in Danish national self-perception.In 1990 the literary historian and publicist Henning Fonsmark initiated the surge of criticism of Gr which from about 1992 has permeated the Danish public. With its starting-point in the debate over Denmark’s relationship to the European Union and over immigration into Denmark, one may observe a steadily more violent criticism of Gr among intellectuals who have a more or less loose connection to traditional cultural-radical milieus. At the same time the Danish immigration-opposed right wing, identifies itself with Gr - as in the case of the theological ‘Tidehverv’-movement, The Danish Association (Den Danske Forening) and The Danish National Party (Dansk Folkeparti). In contrast to the understanding of Gr hitherto prevailing, Gr is now widely interpreted as hostile to foreigners, intolerant, and the opponent of democracy and social equality.The viewpoint of the article is that both the right-wing use of Gr and the criticism of him are made possible only by an underestimation of his Christian premisses. When Gr’s Christian anthropology - and thereby the fellowship of dialogue between God and humankind - are appreciated as being the very core of his writings, then it becomes possible to maintain an image of Gr as the supporter of liberty, of social equality and of an enlightenment of and for life, which on the one hand appears as a consequence of modernity’s breakthrough in Western Europe and on the other takes its distinctive form from Gr’s understanding of Christianity as the bearer of that universality in whose light the particularity offolkelighed is to be understood. And it is this relationship which renders problematical a nationalistic reading of Gr’s authorship.

AbstractThe relationship between Marxism and ecology has been sullied by Martinez-Alier's influential interpretation of Engels's reaction to the agricultural energetics of Sergei Podolinsky. This introduction to the first English translation of Podolinsky's 1883 Die Neue Zeit piece evaluates Martinez-Alier's interpretation in light of the four distinct but closely related articles Podolinsky published over the years 1880–3. This evaluation also emphasises the important but previously underrated role of energy analysis in Marx's Capital. Engels's criticisms of Podolinsky are found to be quite justified from both political-economy and ecological perspectives. From the standpoint of Marx and Engels's metabolic and class-relational approach to production, Podolinsky's attempt to reduce use-value to energy is fraught with problems. Podolinsky's energy reductionism does not even come close to representing an alternative value analysis – let alone a groundbreaking perspective on ecological history – as was suggested by Martinez-Alier. Far from Marx and Engels's vision of communism as an ecologically sustainable and coevolutionary human development, Podolinsky's conception of human labor as an energy accumulation machine seems to uncritically mimic the standpoint of the capitalist interested in using nature only to extract as much energy throughput (work) as possible from the labour-power (potential work) of the worker.

The author of the article analyses the problem of the female emancipation in the little-known feuilleton “Amazonia: A Very Inept Story” (1924) by Mykola Chirsky. The author determines the genre affiliation of the work and examines its compositional structure. Three parts are distinguished in the architectonics of associative feuilleton: associative conception; deployment of a “small” topic; conclusion. The author of the article clarifies the role of intertextual elements and the method of constantly switching the tone from serious to comic to reveal the thematic direction of the work. Mykola Chirsky’s interest in the problem of female emancipation is corresponded to the general mood of the era. The subject of ridicule in provocative feuilleton is the woman’s radical metamorphoses, since repulsive manifestations of emancipation becomes commonplace. At the same time, the writer shows respect for the woman, appreciates her femininity, internal and external beauty, personality. He associates the positive in women with the functions of a faithful wife, a caring mother, and a skilled housewife. In feuilleton, the writer does not bypass the problem of the modern man role in a family, but analyses the value and moral and ethical guidelines of his character. The husband’s bad habits receive a caricatured interpretation in the strange behaviour of relatives. On the one hand, the writer does not perceive the extremes brought by female emancipation, and on the other, he mercilessly criticises the male “virtues” of contemporaries far from the standard. The artistic heritage of Mykola Chirsky remains little studied. The urgent task of modern literary studies is the introduction of Mykola Chirsky’s unknown works into the scientific circulation and their thorough scientific understanding.

Yermak Timofeevich, the conqueror of Siberia, is a key figure of the Siberian frontier and a special “myth” about Siberia in Russian culture. The aim of the article is to find out the idea of Yermak that Siberian intellectual readers formed at the turn of the 20th century. The library of the eminent Tomsk teacher Gavriil Tyumentsev is a representative material for this study. During his life, Tyumentsev collected books and various materials about Siberia. The corpus of publications on Yermak belongs to the period from 1832 to 1897. The books are mainly issued by the capital’s publishing houses and include works of various genres, both fiction (historical story, novel, tragedy) and non-fiction (historical essay, research paper, materials of anniversary readings). Two fictionalized biographies of Yermak stand apart. Folklore is an important component of many works. Readers of the publications are heterogeneous, although most of the books are intended for the mass educated reader. The degree of preservation of the books, few notes, and a number of external signs—all this made it possible to assess what turned out to be the most interesting for the reader. Fictional works about Yermak are in the lead, especially the voluminous historical novel Yermak, or the Conquest of Siberia (1834) by P. Svinyin and the love story From Chopping Block to Honor (1890) by E. Nikolaeva. However, popular science publications, primarily fictionalized biographies of the hero, aroused no less interest. In both cases, the fascination of the narrative turns out to be no less important than the quality of the text: for example, the publication of the short story of the populist N. Polushin, which is much more inferior to the work of the famous journalist and publisher A.S. Suvorin, has been preserved worse, and the book with E. Nikolaeva’s woman’s novel falls to pieces as a result of repeated reading. However, a remarkable historical essay by the Petersburg teacher A.N. Ovsyannikov, in which the author gave the most balanced assessment of the conqueror of Siberia, also attracted the reader’s attention. The collection of reports of the “literary morning” in Tobolsk (1883) is a vivid example of how the Siberian intelligentsia understands the events of the 16th century. Against the background of the same type of interpretation of Yermak’s personality by the metropolitan authors, Tobolsk teachers freely express their assessment of the activities of the ataman and his army, and also criticize their presentation in literature, which is far from the historical truth. The significant number of books about Yermak in the Tyumentsev library testifies to the fact that the heroic plot, associated not only with the capture, but also with the domestication of Siberia, was in demand among Siberian readers. And the “diversity” of Yermak in the collection of the Tomsk teacher is the best proof of the breadth of views of the Siberian intelligentsia at the turn of the 20th century, the desire of the local reader to follow all the trends of both the literary process and the historical thought of Russia and form their own idea of the origins of the Siberian “transboundedness”.

<p align="center"><strong>Abstrak</strong></p><p>Tulisan dalam jurnal ini bertujuan untuk mengetahui proses runtuhnya Khilafah Turki Ustmani tanggal 3 maret 1924 dan dampaknya terhadap kehidupan umat Islam. Metode yang digunakan dalam penelitian ini adalah metode sejarah. Metode sejarah adalah prosedur sejarawan Untuk melukiskan kisah masa lampau berdasarkan jejak-jejak yang ditinggalkan pada masa lampau dengan langkah-langkah penulisan sejarah sebagai berikut: (1) heuristik, (2) kritik, (3) interpretasi dan (4) historiografi. Berdasarkan penelitian yang dilakukan maka dapat ditarik kesimpulan bahwa: Khilafah Turki Ustmani dihancurkan dengan cara menghapus sistem kekhilafahan dan menggantinya dengan sistem republik oleh seorang keturunan yahudi yaitu Mustafa Kemal Attatur. Selama 14 abad kaum muslimin hidup dalam pemerintahan Islam yang mana diterapkan hukum-hukum Islam dalam seluruh aspek kehidupan. Namun sayangnya hari itu tepatnya 3 maret 1924 secara resmi dengan bantuan Inggris, Mustafa Kemal Attaturk mengubah khilafah dengan sistem Repulik Turki dan sampai hari ini sistem tersebut masih berjalan. Runtuhnya khilafah menyebabkan munculnya persoalan kaum muslimin mulai dari kolonialisme, konflik di Negara dunia ketiga, persoalan ekonomi,politik dan sosial budaya.</p><p> </p><p><strong>Kata Kunci:</strong> Khilafah Turki Ustmani, 3 maret 1924</p><p> </p><p align="center"><strong><em>Abstract</em></strong></p><p><em>The writing in this journal aims to find out the process of the collapse of the Ottoman Caliphate on March 3, 1924 and its impact on the lives of Muslims. The method used in this study is the historical method. Historical method is the procedure of historians to describe the story of the past based on traces left in the past by the steps of historical writing as follows: (1) heuristics, (2) criticism, (3) interpretation and (4) historiography.</em></p><p><em>Based on the research conducted, it can be concluded that: the Ottoman Caliphate was destroyed by removing the Caliphate system and replacing it with a republic system by a descendant of the Jews namely Mustafa Kemal Attatur. For 14 centuries the Muslims lived in an Islamic government which applied Islamic laws in all aspects of life. But unfortunately that day to be exact 3 March 1924 officially with the help of Britain, Mustafa Kemal Attaturk changed the Caliphate with the system of the Republic of Turkey and to this day the system is still running. The collapse of the Caliphate caused the emergence of problems of the Muslims ranging from colonialism, conflict in third world countries, economic, political and socio-cultural issues</em><em>.</em></p><p><em> </em></p><strong><em>Keywords:</em></strong><em> the Caliphate of Turkish Ottoman, March 3, 1924</em>

A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash vids (Kreisinger). Non-written slash forms such as slash vids (see Russo) and slash fanart (see Dennis) have received increased attention in recent years. This article continues the tradition of moving beyond fiction by considering the non-written form of slash manips, yet to receive sustained scholarly attention. Speaking as a practitioner—my slash manips can be found here—I perform textual analysis from an aca–fan (academic and fan) position of two Merlin slash manips by male Tumblr artist wandsinhand. My textual analysis is influenced by Barthes’s use of image semiotics, which he applies to the advertising image. Barthes notes that “all images are polysemous”, that underlying their signifiers they imply “a ‘floating chain’ of signifieds, the reader able to choose some and ignore others” (274). That said, the advertising image, he argues, constructs an “undoubtedly intentional […] signification”, making it ideally suited for analysis (270). By supplementing my analysis with excerpts from two interviews I conducted with wandsinhand in February and April 2013 (quoted here with permission), I support my readings with respect to the artist’s stated ‘intentional reading’. I then contextualise these readings with respect to canon (Merlin) representations and gay pornography—via the chosen sexual acts/positions, bukkake and doggystyle, of the pornographic base models, as selected by the artist. This approach allows me to examine the photo remix qualities of slash manips with respect to the artist’s intentions as well as how artistic choices of inclusion function to anchor meaning in the works. I describe these choices as the ‘semiotic significance of selection’. Together the readings and interviews in this article help illustrate the value of this form and the new avenues it opens for slash scholars, such as consideration of photo remix and male production, and the importance of gay pornography to slash. My interviews also reveal, via the artist’s own assessment of the ‘value’ of his practice, a tendency to devalue or overlook the significance of this particular slash form, affirming a real need for further critical engagement with this under-examined practice. Slash Photo Remix: Famous Faces, Porny Bodies Lessig defines remix culture as based on an activity of “rip, mix and burn” (12–5); while Navas describes it as a “practice of cut/copy and paste” (159)—the latter being more applicable to photo remix. Whereas Lessig is concerned primarily with issues of copyright, Navas is interested in remix’s role in aesthetics and the political economy. Within fan studies, slash vids—a form of video remix—has been a topic of considerable academic interest in recent years. Slash manips—a form of photo or image remix—however, has not attracted the same degree of interest. Stasi’s description of slash as “a non-hierarchical, rich layering of genres” points to the usefulness of slash manips as an embodiment of the process of slash; whereby artists combine, blend and mutate graphic layers from popular media with those from gay pornography. Aesthetics and the slash manip process are central concerns of this article’s consideration of slash photo remix. Slash manips, or slash photo montage, use image manipulation software (Adobe Photoshop being the community standard, see wandsinhand’s tutorial) to layer the heads of male fictional characters from stills or promotional images with scenes—static or moving—from gay pornography. Once an artist has selected pornographic ‘base models’ anatomically suited to canon characters, these models are often then repositioned into the canon universe, which in the case of Merlin means a medieval setting. (Works not repositioned and without added details from canon are generally categorised as ‘male celebrity fakes’ rather than ‘slash manips’.) Stedman contends that while many fan studies scholars are interested in remix, “studies commonly focus on examples of remixed objects rather than the compositional strategies used by remix composers themselves” (107). He advocates moving beyond an exclusive consideration of “text-centred approaches” to also consider “practice-” and “composer-centred” approaches. Such approaches offer insight into “the detailed choices composers actually make when composing” (107). He refers to recognition of the skills required by a remix composer as “remix literacy” (108). This article’s consideration of the various choices and skills that go into the composition of slash manips—what I term the ‘semiotic significance of selection’—is explored with respect to wandsinhand’s practice, coupling my reading—informed by my experience as a practitioner—with the interpretations of the artist himself. Jenkins defines slash as “reaction against” constructions of male sexuality in both popular media and pornography (189). By their very nature, slash manips also make clear the oft-overlooked connections between slash and gay pornography, and in turn the contributions of gay male participants, who are well represented by the form. This contrasts with a tendency within scholarship to compare slash with heterosexual female forms, such as the romance genre (Salmon and Symons). Gay pornography plays a visible role in slash manips—and slash vids, which often remix scenes from popular media with gay cinema and pornography. Slash as Romance, Slash as Pornography Early scholarship on slash (see Russ; Lamb and Veith) defines it as a form of erotica or pornography, by and for women; a reductive definition that fails to take into account men’s contribution, yet one that many researchers continue to adopt today. As stated above, there has also been a tendency within scholarship to align the practice with heterosexual female forms such as the romance genre. Such a tendency is by and large due to theorisation of slash as heterosexual female fantasy—and concerned primarily with romance and intimacy rather than sex (see Woledge). Weinstein describes slash as more a “fascination with” than a “representation of” homosexual relationships (615); while MacDonald makes the point that homosexuality is not a major political motivator for slash (28–9). There is no refuting that slash—along with most fannish practice—is female dominated, ethnographic work and fandom surveys reveal that is the case. However there is great need for research into male production of slash, particularly how such practices might challenge reigning definitions and assumptions of the practice. In similar Japanese practices, for example, gay male opposition to girls’ comics (shōjo) depicting love between ‘pretty boys’ (bishōunen) has been well documented (see Hori)—Men’s Love (or bara) is a subgenre of Boys’ Love (or shōnen’ai) predominately created by gay men seeking a greater connection with the lived reality of gay life (Lunsing). Dennis finds male slash fanart producers more committed to muscular representations and depiction of graphic male/male sex when compared with female-identifying artists (14, 16). He also observes that male fanart artists have a tendency of “valuing same-sex desire without a heterosexual default and placing it within the context of realistic gay relationships” (11). I have observed similar differences between male and female-identifying slash manip artists. Female-identifying Nicci Mac, for example, will often add trousers to her donor bodies, recoding them for a more romantic context. By contrast, male-identifying mythagowood is known for digitally enlarging the penises and rectums of his base models, exaggerating his work’s connection to the pornographic and the macabre. Consider, for example, mythagowood’s rationale for digitally enlarging and importing ‘lips’ for Sam’s (Supernatural) rectum in his work Ass-milk: 2012, which marks the third anniversary of the original: Originally I wasn’t going to give Sammy’s cunt any treatment (before I determined the theme) but when assmilk became the theme I had to go find a good set of lips to slap on him and I figured, it’s been three years, his hole is going to be MUCH bigger. (personal correspondence, used with permission) While mythagowood himself cautions against gendered romance/pornography slash arguments—“I find it annoying that people attribute certain specific aspects of my work to something ‘only a man’ would make.” (ibid.)—gay pornography occupies an important place in the lives of gay men as a means for entertainment, community engagement and identity-construction (see McKee). As one of the only cultural representations available to gay men, Fejes argues that gay pornography plays a crucial role in defining gay male desire and identity. This is confirmed by an Internet survey conducted by Duggan and McCreary that finds 98% of gay participants reporting exposure to pornographic material in the 30-day period prior to the survey. Further, the underground nature of gay pornographic film (see Dyer) aligns it with slash as a subcultural practice. I now analyse two Merlin slash manips with respect to the sexual positions of the pornographic base models, illustrating how gay pornography genres and ideologies referenced through these works enforce their intended meaning, as defined by the artist. A sexual act such as bukkake, as wandsinhand astutely notes, acts as a universal sign and “automatically generates a narrative for the image without anything really needing to be detailed”. Barthes argues that such a “relation between thing signified and image signifying in analogical representation” is unlike language, which has a much more ‘arbitrary’ relationship between signifier and signified (272). Bukkake and the Assertion of Masculine Power in Merlin Merlin (2008–12) is a BBC reimagining of the Arthurian legend that focuses on the coming-of-age of Arthur and his close bond with his manservant Merlin, who keeps his magical identity secret until Arthur’s final stand in the iconic Battle of Camlann. The homosexual potential of Merlin and Arthur’s story—and of magic as a metaphor for homosexuality—is something slash fans were quick to recognise. During question time at the first Merlin cast appearance at the London MCM Expo in October 2008—just one month after the show’s pilot first aired—a fan asked Morgan and James, who portray Merlin and Arthur, is Merlin “meant to be a love story between Arthur and Merlin?” James nods in jest. Wandsinhand, who is most active in the Teen Wolf (2011–present) fandom, has produced two Merlin slash manips to date, a 2013 Merlin/Arthur and a 2012 Arthur/Percival, both untitled. The Merlin/Arthur manip (see Figure 1) depicts Merlin bound and on his knees, Arthur ejaculating across his face and on his chest. Merlin is naked while Arthur is partially clothed in chainmail and armour. They are both bruised and dirty, Arthur’s injuries suggesting battle given his overall appearance, while Merlin’s suggesting abuse, given his subordinate position. The setting appears to be the royal stables, where we know Merlin spends much of his time mucking out Arthur’s horses. I am left to wonder if perhaps Merlin did not carry out this duty to Arthur’s satisfaction, and is now being punished for it; or if Arthur has returned from battle in need of sexual gratification and the endorsement of power that comes from debasing his manservant. Figure 1: wandsinhand, Untitled (Merlin/Arthur), 2013, photo montage. Courtesy the artist. Both readings are supported by Arthur’s ‘spent’ expression of disinterest or mild curiosity, while Merlin’s face emotes pain: crying and squinting through the semen obscuring his vision. The artist confirms this reading in our interview: “Arthur is using his pet Merlin to relieve some stress; Merlin of course not being too pleased about the aftermath, but obedient all the same.” The noun ‘pet’ evokes the sexual connotations of Merlin’s role as Arthur’s personal manservant, while also demoting Merlin even further than usual. He is, in Arthur’s eyes, less than human, a sexual plaything to use and abuse at will. The artist’s statement also confirms that Arthur is acting against Merlin’s will. Violence is certainly represented here, the base models having been ‘marked up’ to depict sexualisation of an already physically and emotionally abusive relationship, their relative positioning and the importation of semen heightening the humiliation. Wandsinhand’s work engages characters in sadomasochistic play, with semen and urine frequently employed to degrade and arouse—“peen wolf”, a reference to watersports, is used within his Teen Wolf practice. The two wandsinhand works analysed in this present article come without words, thus lacking a “linguistic message” (Barthes 273–6). However even so, the artist’s statement and Arthur’s stance over “his pet Merlin” mean we are still able to “skim off” (270) the meanings the image contains. The base models, for example, invite comparison with the ‘gay bukkake’ genre of gay pornography—admittedly with a single dominant male rather than a group. Gay bukkake has become a popular niche in North American gay pornography—it originated in Japan as a male–female act in the 1980s. It describes a ritualistic sexual act where a group of dominant men—often identifying as heterosexual—fuck and debase a homosexual, submissive male, commonly bareback (Durkin et al. 600). The aggression on display in this act—much like the homosocial insistency of men who partake in a ‘circle jerk’ (Mosher 318)—enables the participating men to affirm their masculinity and dominance by degrading the gay male, who is there to service (often on his knees) and receive—in any orifice of the group’s choosing—the men’s semen, and often urine as well. The equivalencies I have made here are based on the ‘performance’ of the bukkake fantasy in gay niche hazing and gay-for-pay pornography genres. These genres are fuelled by antigay sentiment, aggression and debasement of effeminate males (see Kendall). I wish here to resist the temptation of labelling the acts described above as deviant. As is a common problem with anti-pornography arguments, to attempt to fix a practice such as bukkake as deviant and abject—by, for example, equating it to rape (Franklin 24)—is to negate a much more complex consideration of distinctions and ambiguities between force and consent; lived and fantasy; where pleasure is, where it is performed and where it is taken. I extend this desire not to label the manip in question, which by exploiting the masculine posturing of Arthur effectively sexualises canon debasement. This began with the pilot when Arthur says: “Tell me Merlin, do you know how to walk on your knees?” Of the imported imagery—semen, bruising, perspiration—the key signifier is Arthur’s armour which, while torn in places, still ensures the encoding of particular signifieds: masculinity, strength and power. Doggystyle and the Subversion of Arthur’s ‘Armoured Self’ Since the romanticism and chivalric tradition of the knight in shining armour (see Huizinga) men as armoured selves have become a stoic symbol of masculine power and the benchmark for aspirational masculinity. For the medieval knight, armour reflects in its shiny surface the mettle of the man enclosed, imparting a state of ‘bodilessness’ by containing any softness beneath its shielded exterior (Burns 140). Wandsinhand’s Arthur/Percival manip (see Figure 2) subverts Arthur and the symbolism of armour with the help of arguably the only man who can: Arthur’s largest knight Percival. While a minor character among the knights, Percival’s physical presence in the series looms large, and has endeared him to slash manip artists, particularly those with only a casual interest in the series, such as wandsinhand: Why Arthur and Percival were specifically chosen had really little to do with the show’s plot, and in point of fact, I don’t really follow Merlin that closely nor am I an avid fan. […] Choosing Arthur/Percival really was just a matter of taste rather than being contextually based on their characterisations in the television show. Figure 2: wandsinhand, Untitled (Arthur/Percival), 2012, photo montage. Courtesy the artist. Concerning motivation, the artist explains: “Sometimes one’s penis decides to pick the tv show Merlin, and specifically Arthur and Percival.” The popularity of Percival among manip artists illustrates the power of physicality as a visual sign, and the valorisation of size and muscle within the gay community (see Sánchez et al.). Having his armour modified to display his muscles, the implication is that Percival does not need armour, for his body is already hard, impenetrable. He is already suited up, simultaneously man and armoured. Wandsinhand uses the physicality of this character to strip Arthur of his symbolic, masculine power. The work depicts Arthur with a dishevelled expression, his armoured chest pressed against the ground, his chainmail hitched up at the back to expose his arse, Percival threading his unsheathed cock inside him, staring expressionless at the ‘viewer’. The artist explains he “was trying to show a shift of power”: I was also hinting at some sign of struggle, which is somewhat evident on Arthur’s face too. […] I think the expressions work in concert to suggest […] a power reversal that leaves Arthur on the bottom, a position he’s not entirely comfortable accepting. There is pleasure to be had in seeing the “cocky” Arthur forcefully penetrated, “cut down to size by a bigger man” (wandsinhand). The two assume the ‘doggystyle’ position, an impersonal sexual position, without eye contact and where the penetrator sets the rhythm and intensity of each thrust. Scholars have argued that the position is degrading to the passive party, who is dehumanised by the act, a ‘dog’ (Dworkin 27); and rapper Snoop ‘Doggy’ Dogg exploits the misogynistic connotations of the position on his record Doggystyle (see Armstrong). Wandsinhand is clear in his intent to depict forceful domination of Arthur. Struggle is signified through the addition of perspiration, a trademark device used by this artist to symbolise struggle. Domination in a sexual act involves the erasure of the wishes of the dominated partner (see Cowan and Dunn). To attune oneself to the pleasures of a sexual partner is to regard them as a subject. To ignore such pleasures is to degrade the other person. The artist’s choice of pairing embraces the physicality of the male/male bond and illustrates a tendency among manip producers to privilege conventional masculine identifiers—such as size and muscle—above symbolic, nonphysical identifiers, such as status and rank. It is worth noting that muscle is more readily available in the pornographic source material used in slash manips—muscularity being a recurrent component of gay pornography (see Duggan and McCreary). In my interview with manip artist simontheduck, he describes the difficulty he had sourcing a base image “that complimented the physicality of the [Merlin] characters. […] The actor that plays Merlin is fairly thin while Arthur is pretty built, it was difficult to find one. I even had to edit Merlin’s body down further in the end.” (personal correspondence, used with permission) As wandsinhand explains, “you’re basically limited by what’s available on the internet, and even then, only what you’re prepared to sift through or screencap yourself”. Wandsinhand’s Arthur/Percival pairing selection works in tandem with other artistic decisions and inclusions—sexual position, setting, expressions, effects (perspiration, lighting)—to ensure the intended reading of the work. Antithetical size and rank positions play out in the penetration/submission act of wandsinhand’s work, in which only the stronger of the two may come out ‘on top’. Percival subverts the symbolic power structures of prince/knight, asserting his physical, sexual dominance over the physically inferior Arthur. That such a construction of Percival is incongruent with the polite, impeded-by-my-size-and-muscle-density Percival of the series speaks to the circumstances of manip production, much of which is on a taste basis, as previously noted. There are of course exceptions to this, the Teen Wolf ‘Sterek’ (Stiles/Derek) pairing being wandsinhand’s, but even in this case, size tends to couple with penetration. Slash manips often privilege physicality of the characters in question—as well as the base models selected—above any particular canon-supported slash reading. (Of course, the ‘queering’ nature of slash practice means at times there is also a desire to see such identifiers subverted, however in this example, raw masculine power prevails.) This final point is in no way representative—my practice, for example, combines manips with ficlets to offer a clearer connection with canon, while LJ’s zdae69 integrates manips, fiction and comics. However, common across slash manip artists driven by taste—and requests—rather than connection with canon—the best known being LJ’s tw-31988, demon48180 and Tumblr’s lwoodsmalestarsfakes, all of whom work across many fandoms—is interest in the ‘aesthetics of canon’, the blue hues of Teen Wolf or the fluorescent greens of Arrow (2012–present), displayed in glossy magazine format using services such as ISSUU. In short, ‘the look’ of the work often takes precedent over canonical implications of any artistic decisions. “Nothing Too Serious”: Slash Manips as Objects Worth Studying It had long been believed that the popular was the transient, that of entertainment rather than enlightenment; that which is manufactured, “an appendage of the machinery”, consumed by the duped masses and a product not of culture but of a ‘culture industry’ (Adorno and Rabinbach 12). Scholars such as Radway, Ang pioneered a shift in scholarly practice, advancing the cultural studies project by challenging elitism and finding meaning in traditionally devalued cultural texts and practices. The most surprising outcome of my interviews with wandsinhand was hearing how he conceived of his practice, and the study of slash: If I knew I could get a PhD by writing a dissertation on Slash, I would probably drop out of my physics papers! […] I don’t really think too highly of faking/manip-making. I mean, it’s not like it’s high art, is it? … or is it? I guess if Duchamp’s toilet can be a masterpiece, then so can anything. But I mainly just do it to pass the time, materialise fantasies, and disperse my fantasies unto others. Nothing too serious. Wandsinhand erects various binaries—academic/fan, important/trivial, science/arts, high art/low art, profession/hobby, reality/fantasy, serious/frivolous—as justification to devalue his own artistic practice. Yet embracing the amateur, personal nature of his practice frees him to “materialise fantasies” that would perhaps not be possible without self-imposed, underground production. This is certainly supported by his body of work, which plays with taboos of the unseen, of bodily fluids and sadomasochism. My intention with this article is not to contravene views such as wandsinhand’s. Rather, it is to promote slash manips as a form of remix culture that encourages new perspectives on how slash has been defined, its connection with male producers and its symbiotic relationship with gay pornography. I have examined the ‘semiotic significance of selection’ that creates meaning in two contrary slash manips; how these works actualise and resist canon dominance, as it relates to the physical and the symbolic. This examination also offers insight into this form’s connection to and negotiation with certain ideologies of gay pornography, such as the valorisation of size and muscle. 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