Journal articles on the topic 'Degree Name: Doctor of Music'

The biography of Fyodor Petrovich (Ivanovich) Haaz (Friedrich Joseph Laurentius Haass) (1780 - 1853) - Moscow doctor (1806 - 1853), a German origin, scientist, public health administrator, an outstanding humanist doctor of the first half of the 19th century, a philanthropist, known as the "Holy doctor", is showed in the article. Court Advisor (1811), College Counselor (1826), Knight of the Order of St. Vladimir of the fourth degree (1811), Order of St. Anna of the 2nd degree (181?) of The Russian Impire. A doctor in the army during the Patriotic War of 1812 (from January 1814), head physician of the Moscow Pavlovsk Hospital (1807-1812, 1814-1825), Head of the Moscow Medical Office (1825-1826), one of the founders of the Moscow Eye Hospital (1826), a member of the Moscow Prison Committee and the head doctor of Moscow prisons (1826-1853), the head doctor of the Moscow Catherine Hospital (1840-1844), the founder and head doctor of the Moscow Police (later - Alexander) hospital, popularly called the "Haaz" (1844- 1853). One of the founders of Russian balneology and balneology, who made a great contribution to the development of climatology and meteorology, pioneer in the resorts in the North Caucasus (1809-1810). The creator of lightweight individual shackles, he achieved their introduction at the exile stages to replace the riveting to a common rod for 6-12 convicted. The development of deontology in the 19th century, a science that studies the ethical standards and principles of a doctor’s behavior, as well as certain responsibilities towards the patient, is inextricably linked to the name of Dr. F.P. Haaz [F. Haass]. The life and work of this outstanding humanist physician is a wonderful example of high morality in the fulfillment of his professional duties and genuine nobility in serving the sick and suffering people. The motto of Dr. Haass’ life and professional work was borrowed from the Apostle Paul: “Hurry to do good” (in Galatians (6: 9-10) and in the second letter to The Thessalonians (3:13)). At present, the process of beatification has begun - the canonical process of classifying F. Haass as a blessed Catholic church.

The name of Arsen Rychinsky - a doctor, church and public figure, a prominent religious ethnologist - is being forgotten today. Arsen Rychinsky was born in the village of Tetilitsa, Kremenetsky district of the former Volyn province in a priest's family, studied at the Kremenetsky Pymnasium, and after graduating from Zhytomyr Theological Seminary. While studying at the seminary, Arsen Richinsky produced manuscripts and journals. A well-endowed young man searched hard for himself. Perhaps that is why in 1911 he became not a priest but a teacher of the parish school of the village of Sidnyarka, Lutsk county. He taught Richinsky not for long, but his love for school, he kept his children for life. From September 1911 Rychinsky studied at the University of Warsaw, and from the beginning of World War I transferred to the University of St. Vladimir in Kiev. In March 1917 he successfully passed the exams and was approved "to the degree of a doctor with all the rights and advantages of the laws of this degree assigned."

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

The article is devoted to the anniversary of Irina Murtazovna Nurieva, the prominent ethnomusicologist, Honored scientist, Doctor of Art. The author focuses on her scientific and creative activity and analyzes her contribution to the study of the Udmurt musical and song tradition. During her period of work in the Udmurt Institute of History, Language and Literature UdmFRC UB RAS I. M. Nurieva published five monographs and more than a hundred articles. Her works are in demand not only among the academic community and teachers of higher education, but also of all those who are interested in folk culture. It was established that a high popularity rating of her research was achieved due to the involvement of the rich material from field practices in which she was directly involved During her activities she conducted a large number of expeditions (folklore-dialectological, folklore-ethnographic, folklore-choreographic), the geography of which, in addition to the Udmurt Republic, covers the Republic of Tatarstan, the Republic of Mari El, the Kirov region. The name of the Udmurt ethnomusicologist is known not only on a Russian scale, but also outside of it. I. M. Nurieva is a returning participant in international conferences, congresses.

As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master’s degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree.

Abstract Background. It is well known through several studies that listening to music can reduce the anxiety of patients. However, most of the previous studies focused only on the psychological effects of patients and some physiological effects such as blood pressure, pain. Moreover, previous studies played music that is not related to personal preferences. The purpose of this study is to investigate whether reducing the patient's anxiety through music selected by patients can improve the patient's surgical experience and the relationship between the patient and doctor. Methods. We randomly assigned 304 breast cancer patients who underwent surgery between September 2020 to April 2021 into a music therapy group(MG) and a control group(CG). Among them, 290 people completed the study. MG (n = 150) listened to the patient's chosen music after entering the operating room until induction of anesthesia, while CG (n = 140) wore earmuffs for noise block in the operating room instead of music. All patients measured anxiety scores over time by numeric rating scale. Treatment satisfaction and patient-doctor depth of relationship scale(PDDRS) were also assessed after surgery. In addition, surgical satisfaction and intimacy with patients were evaluated in the surgeon. Result. The anxiety scores immediately after entering the operating room were not significantly different between the two groups(MG: 4.62 ± 2.44, CG: 4.61 ± 2.45, p = .984). However, the anxiety levels before anesthesia induction of MG patients was 3.36 ± 2.32, which was significantly lower than that of CG patients (3.90 ± 2.26) (p = .047). There was no difference between the groups in PDDRS evaluated for patients after surgery (MG: 26.25 ± 5.529, CG: 25.56 ± 5.918, p = .338) while the degree of intimacy with the patient stated by the surgeon was significantly higher in MG (MG: 7.59 ± 0.89, CG: 7.30 ± 1.05, p = .013). Satisfaction with treatment experience of patients was 18.01 ± 1.78 in MG, which was significantly higher than 17.65 ± 1.59 in CG (p = .040). Especially among the detailed items, the experience in the operating room was evaluated more positively in MG as 4.21 ± 0.79 than 3.91 ± 0.78 in CG (p = .001). The difference in the anxiety-reducing effect of music therapy in the subgroup without surgery history was larger than with a history of surgery, but there was no statistical significance. Similarly, the difference in the anxiety reduction effect in the subgroup with low preoperative anxiety level was greater than that in the subgroup with high anxiety, but this was also not statistically significant (Table 1). People evaluated the experience of surgery more positively as the degree of anxiety reduction in the operating room was greater (Spearman's correlation coefficients = -0.124, p = .035). Conclusion. Personalized selected music in the operating room before anesthesia can effectively lower the patient's anxiety and has the potential to positively change the patient’s satisfaction with surgery. Patients with no surgical history, low pre-operative anxiety can more benefit from personalized music therapy. It is expected to create an opportunity for the patient with breast cancer who anticipate receiving surgery to improve their compliance to treatment by strengthening intimacy with the surgeon. Table 1.Subgroup analysis for anxiety-reducing effect of music in operating roomGroupNMean ± SDDifference between groupP value between groupP value for interactionOverallCG140-0.71±1.560.55.005MG150-1.26±1.68Surgical historyNoCG53-0.38 ± 1.690.75.012.428MG67-1.13 ± 1.49YesCG87-0.92 ± 1.450.44.076MG83-1.36 ± 1.83Pre-Op. GAD-7< 5 pointsCG85-0.55 ± 1.470.73.003.215MG91-1.28 ± 1.57≥5 pointsCG55-0.97 ± 1.670.25.416MG59-1.22 ± 1.86 Citation Format: Yohan Joo, Seockhoon Chung, Seonok Kim, Saebyeol Lee, Sei-Hyun Ahn, Jongwon Lee, BeomSeok Ko, Jisun Kim, Il Yong Chung, Byung Ho Son, Hee Jeong Kim. The effects of preoperative personalized music therapy associated with the patient-doctor relationship and surgical experience of patients with breast cancer (MARS) [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P4-10-18.

Voyno-Yasenetsky Valentin Feliksovich (Archbishop Luka) Archbishop of Crimea and Simferopol, Russian and Soviet surgeon, the author of works in anesthesiology, doctor of medical Sciences (1916), Professor (1917); doctor of theology (1959), winner of the Stalin prize, first degree (1946). F. Voino-Yasenetsky was born 27 APR 1877. After graduating from high school and Kiev art school, studied painting in Munich. In 1898 he became a student of the medical faculty of Kiev University, after which he worked as a surgeon in Chita, the town of Ardatov in Simbirsk province S. Verkhniy Lyubazh, Kursk region, town of Fatezh, Moscow. In 1915 he published in Saint Petersburg the book "Regional anesthesia", and in 1916 he defended it as his thesis and received the degree of doctor of medicine. Until 1917 the doctor in some of the provincial hospitals of Russia, and later the chief doctor of Tashkent city hospital, Professor of Central Asian state University. In 1921 he was ordained to the diaconate, a week a priest in 1923 he was tonsured a monk and consecrated a Bishop with the name Luca, a week later arrested. In 1926 V. F. Voyno-Yasenetsky returned to Tashkent, but in 1930 he was arrested again and transported to Arkhangelsk. In 1934 he published a monograph "Sketches of purulent surgery". In 1937 he was arrested for the third time. Since 1940, works as a surgeon in the link in Bolshaya Murta, 110 kilometers from Krasnoyarsk. 1941 – consultant to all hospitals in the Krasnoyarsk territory and the chief surgeon of the hospital. In 1942 was elevated to the rank of Archbishop and appointed to the chair of Krasnoyarsk. In 1944, published the monograph "On the course of chronic empyema and hundreth" and "Late resections of infected gunshot wounds of the joints." In 1944, Archbishop Luke was headed by the Department of Tambov. In 1945, awarded the Patriarch Alexy I right to wear the diamond cross, wrote the book "Spirit, soul and body." In 1946 he headed the Crimean Department in Simferopol. In 1946 he was awarded the Stalin prize. In 1955, was blind. Died V. F. Voyno-Yasenetsky June 11, 1961, Archbishop of Crimea and Simferopol. Author of 55 scientific papers on surgery and anatomy, ten volumes of sermons. His most famous book "Sketches of purulent surgery". Awarded Pointscore (1916), the diamond cross from the Patriarch of all Russia (1944), medal "For valiant labor in the great Patriotic war" (1945), Stalin prize first degree (1944). Archbishop Luka monuments in Krasnoyarsk, Tambov, and Simferopol, is an honorary citizen of Pereslavl-Zalessky (posthumously). In 1995, St Luke canonized as locally venerated saints of the Crimean diocese, in 2000, the definition of the Council of bishops of the Russian Orthodox Church glorified as a Confessor (Saint) in the Assembly of new martyrs and Confessors of Russia. His relics are installed for worship at Holy Trinity Cathedral in Simferopol.

Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

Increasingly, institutions of higher education are adopting fully online degree programs to provide students with cost-effective, accessible postsecondary education. A concern these degrees raise is: Will students be prepared for the next step of their career paths after completing their Bachelor’s degree online? Biology undergraduates often begin their degrees wanting to become medical doctors, but no studies have explored whether students in a fully online biology degree program are being prepared to be admitted to medical school. In this study, we surveyed Introductory Biology students at one institution who were pursuing Bachelor of Science degrees in Biological Sciences, either in an online or an in-person program. The most prevalent career goal for both in-person students (65.2%) and online students (39.7%) was a medical doctor. Online students were more confident in their intentions to become doctors than their in-person peers. However, online students knew fewer criteria that medical schools consider when admitting students than in-person students [in-person: mean = 3.7 (SD 1.6); online: mean =2.7 (SD 1.7)] and were less likely to plan to become involved in premedical activities, such as undergraduate research. Finally, compared with in-person students, fewer online students were able to name at least one science student (in-person: 76.7%; online: 9.7%), academic advisor (in-person: 21.3%; online: 6.5%), and faculty member (in-person: 33.7%; online: 6.5%) with whom they could talk about pursuing a career in medicine. This work highlights knowledge gaps between students enrolled in a fully online biology degree and an in-person biology degree that are important for developers of online biology degree programs to understand and rectify to better prepare online biology students for admission to medical school.

When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.

Tadeusz Marian Kobusiewicz - eminent professor in veterinary medicine, captain of the Polish Army, was bom in Szadek. He eamed doctor's degree in Warsaw in 1934, then served intemship in Great Britain in 1939, and in Pasteur Institute in Paris in 1945. In 1951 he became head of the Institute for Research on Foot-and-Mouth Desease in Gorzów Welkopolski, and in 1953 set up in Zduńska Wola a Foot-and-Mouth Desease Section of the Veterinary Medicine Institute. He was a dedicated social worker, actively engaged in sports promotion, chairman of the Łódź Section of Veterinary Doctors and Technicians Association, and councillor in Zduńska Wola. T. M. Kobusiewicz was the first Polish veterinary doctor to successively immunize against tenatus all horses in the Polish Army. He was the best in Poland specialist on the foot-and-mouth desease, who provided scientific foundations for prevention and cure of this desease. In recognition of his merits he was awarded I Class Order of the Banner of Labour. Died in 1979. One of the streets in Zduńska Wola was given his name.

Costin D. Nenitzescu was born in Bucharest in 1902 and passed away in Busteni, Romania in 1970. He obtained primary and secondary education in Romania and began university studies at the Swiss Federal Polytechnic Institute in Zurich. Later, he moved to the Technische Hochschule in Munchen (Munich) where he worked with Hans Fischer and obtained the Doctor of Engineering Degree in 1925. During the same year, he returned to Romania where he spent the rest of his life working, first at the University of Bucharest (1925-1935) and then at the Polytechnic Institute (1935-1970). Costin D. Nenitzescu is considered the founder of the School of Modern Organic Chemistry in Romania. He has published approximately 300 (three hundred) scientific articles, twenty books and treatises dealing mainly with organic chemistry, and authored about forty patents. Several organic reactions bear his name. Costin D. Nenitzescu s work includes the chemistry of indole and pyrrole, Romanian petroleum, nitro derivatives, reactions catalyzed by aluminum chloride, pyrytium salts, aromatic alkylation, cyclobutadiene, cyclooctatetraene, annulenes, carbonium ion reactions, eliminations, oxidations, and additions.

<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14^th March 2016. She was born on 5^th January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>

On the memory page among the Russian dentists and maxillofacial surgeons, it is impossible not to remember the outstanding figure in the worlds military medicine and practical health care, doctor of medical sciences, professor, and colonel of the medical service Vladimir Mikhailovich Uvarov. The study aimed to present scientific, clinical, pedagogical, and social activity of the outstanding dentist and maxillofacial surgeon, doctor of medicine, professor, and colonel of the medical service Vladimir Mikhailovich Uvarov, including his merits in military medicine. On the basis of the analysis of the Russian literature as well as the life, professional activity, and scientific works of Prof. V.M. Uvarov, doctor of medical sciences and colonel of medical service, we present his role in the formation and development of dentistry, maxillofacial surgery, and military medicine in Russia. There is no section of stomatology that V.M. Uvarov would not have paid attention to. He successfully defended 28 dissertations for the degree of candidate of science under his supervision. He is the author of more than 150 scientific works, including six monographs, a textbook, chapters in manuals, and textbooks. He was the author of the chapter on anesthesia and local anesthesia, written for the first textbook in the country Surgical Dentistry (1938). He was an honorable member of the all-union and all-Russian scientific society of dentists of the country; was a great pedagogue; generously shared his scientific, medical, and pedagogical experience with students, cadets, listeners, and lecturers; and carried out great therapeutic and consultative work. His name is among the outstanding maxillofacial surgeons of the country. He proposed the use of an extra-oral apparatus for the fixation of mandibular fractures and other innovations in the field of maxillofacial surgery and dentistry. At present, the students and followers of Vladimir Mikhailovich Uvarov keep him in their memory as a prominent organizer of military and civil health care, a clinician, a scientist, a teacher, and a model of man and humanity. He is remembered and loved.

ABSTRACT Self-contained pairings of the polyphonic Sanctus and Agnus Dei (as distinct from the Gloria and Credo) appear to have been something of a rarity in the early 15th century, both on the Continent and in England. In their catalogue of 15th-century English liturgical music, Gareth Curtis and Andrew Wathey list just five firm Sanctus-Agnus pairs for the period ca. 1400––ca. 1440. Yet examination of these alleged pairs suggests that the status of all but one of them is in some degree open to question. Curtis and Wathey's catalogue also includes a number of movements that have been paired either by 15th-century scribes or by modern commentators but that have so far failed to convince. Among them is a group of eight closely related movements contained in a layer of the two oldest Trent Codices (MSS 87 and 92), which comprises four possible pairs. Investigation suggests that all eight movements are probably the work of the same composer, ““Bloym,”” whose name heads one of the Sanctus settings; that in the process of transmission a number of the movements became wrongly associated; and that by realigning them new and more plausible pairings can be established. The establishment of connections between one of these pairings and a Credo attributed to Bloym in the same Trent layer raises the possibility that all three movements may have been conceived in conjunction with one another, and may therefore form a partial or incomplete cycle.

Introduction: Several recent studies have shown a gender disparity in professional doctoral introductions at major medical conferences, with female speakers being less likely to be introduced with a professional title. We sought to examine whether a similar disparity existed at the American Society of Hematology (ASH) Annual Meeting. Methods: In this retrospective observational study, 8 investigators reviewed available presentations from video archives of the 2018 ASH Annual Meeting. Presentations were excluded if gender could not be identified and/or speaker did not have a doctoral degree. We collected data on speaker gender, speaker academic/non-academic rank, speaker geographic location, speaker training status, speaker session type and introducer gender were all collected. A "professional address" was defined as either "Dr. [First and Last Name]" or "Dr. [Last Name]." Descriptive statistics and regression modelling were used to analyze the data. Results:Of the videos reviewed, 645 presentations were eligible for analysis; 380 (59%) speakers were men and 264 (41%) were women. A comparison of male and female speaker cohorts is seen in Table 1. Forty-eight percent of both men and women held a Medical Doctor degree (MD), and the rest were MD/PhD or PhD graduates. Substantially more men (28%) were full professors compared to women (13%). Almost half (47%) of session types for both men and women speakers were designated as "basic science." In an adjusted analysis, more women (N=174, 66%) compared to men (N=225, 59%) received a professional address (P&lt;.01). 43% of women were introduced by a female introducer and 42% of men were introduced by a female introducer (P=.79). In addition, 48 of the introducers (19%) for women and 68 of the introducers (18%) for men had a PhD or MD/PhD. In a logistic regression model adjusting for session type, academic rank, degree, geographic location, trainee status, and gender of introducer, there were no significant gender-based differences in professional introduction [Table 1; Odds Ratio (OR) 0.71, P=.06]. In addition, speakers with MD introducers were more likely to have a professional introduction compared to PhD introducers (OR 2.15, P=.03) regardless of sex. Conclusions: Our study demonstrates that women were at least as likely as men to receive a professional address at the 2018 ASH Annual Meeting. These results differ from previous studies of other professional medical conferences. These findings may reflect the strong presence of PhD graduates as both speakers and introducers. Both forms of bias (gender and degree-based) merit further study and interventions including speaker training to ensure combatting unconscious bias. Disclosures Velazquez: Midatech: Other: Husband owns stock in this company; Portola Pharmaceuticals: Other: Husband owns stock in this company; Corbus Pharmaceuticals: Other: Husband owns stock in this company; Johnson & Johnson: Other: Husband is employed by this company.

The article investigates and theoretically summarizes the peculiarities of training doctors at the master's level at the universities of ROC. Higher education in China is characterized by numerous changes due to the accumulation and adaptation of advanced successful experience in training specialists in different countries of the world. In this context, the property of scientists and educators of ROC concerning the organization of professional training of masters in medicine is of particular interest for Ukraine. Scientists are constantly searching for solutions and improving higher medical education in ROC. In the universities of the Republic of China, according to the field of study, the degree of master in medicine can be obtained as a professional degree and scientific degree. As a result, after completing the master's program in professional field, the master may work in positions such as senior physician, senior physician in health care, senior dentist, senior pharmaceutical, and the master in research field may work as the doctor-scientist, who carries out medical research as the main professional activity. The name of medical degrees is also different, for the professional field – clinical medicine, for the research field – preclinical medicine. Clinical medicine includes such areas of master's programs in medicine as health care, dentistry, pharmacological science; preclinical medicine includes clinical medicine, preventive medicine, dentistry, the science of human progress, the history of science and technology, biomedical engineering, social medicine and health management. The article examines the experience of implementing master's programs in medicine at higher educational institutions in China. The competence-based approach, forms and specialization of training in the organization of training and practicing students due to master's programs in medicine in ROC were determined.

The article is based on the essence of folk musical instruments that have survived for centuries. Its introduction analyzes the research written in different years on the nature of multi-stringed musical instruments, which is reflected in Kazakh national culture. And it also analyzes their scientific degree and cognitive nature. The polyphonic nature of musical instruments, such as the three-stringed dombyra, the sherter, the seven-stringed zhetigen and their ability to combine with the monodic system of Kazakh music which have not yet been studied in depth are critically discussed. The etymology of the name "chartar" in the context of the origin of these instruments in Kazakh music, its connection with the instrument "sherter" is considered. Opinions on the etymology and semantics of the word "Zhetigen" are also critically analyzed. Further, it is shown that the opinions about the instruments "sherter", "zhetigen" do not correspond to the requirements of instrumental science. The article notes that the opinions published in the periodical press about our national musical instruments are limited in scope, mostly compilation.

Svistelin Dmitry Pavlovich was born on November 27, 1923 in the town Seredina-Buda in the Ukrainian Soviet Socialist Republic. During the Great Patriotic War, he served in the 164th Tank Brigade of the 16th Tank Corps, which took part in the Battle of Kursk. In one of the battles, Dmitry Pavlovich was severely wounded, but after the Victory of the Soviet Union he found the strength and entered the medical faculty of the Lviv State Medical Institute and graduated form it in 1951. Subsequently, Dmitry Pavlovich came to Smolensk, where he became a postgraduate at the Department of Pathological Anatomy of the Smolensk State Medical Institute. From that moment he paid his debt to the Motherland already as a doctor being the head of the pathological department of the Smolensk Regional Psychiatric Hospital. Subsequently, Dmitry Pavlovich began to teach at the Department of Pathological Anatomy and became interested in scientific activities under the guidance of Professor Vladimir Gerasimovich Molotkov, who later guided him for both his candidates and doctoral dissertations. Having achieved a great success in the pathological anatomy and becoming a professor, Dmitry Pavlovich decided to return to practice again. In 1996, he shifted to the post of pathologist in the expert-organizational-advisory department of the Smolensk Regional Institute of Pathology, which even today bears his name due to his outstanding work both for pathological anatomy in general and for Smolensk medicine. For services to the Motherland both as a defender of the Fatherland and as a doctor, Dmitry Pavlovich Svistelin has such awards as the Order of the Patriotic War, 2nd degree, as well as the badge Excellence in Public Health. On June 16, 2006, at the age of 82, Professor Dmitry Pavlovich Svistelin passed away and was buried at the New Cemetery in Smolensk.

Given the genre name heavy metal can be traced to a negative adjective that emerges out of 70s rock journalism and which reflects a widespread dissensus among rock critics about its value and impact on North American rock music, how are we to explain the gradual or cumulative shift away from this majority aesthetic disapprobation, in the 1980–85 period, towards a widespread economic accreditation, particularly in the pages of leading rock magazine, Rolling Stone? Is it simply a belated recognition of the longevity of the genre and its resurgent popularity with majority audiences? If so, how are we to explain the subsequent shift, clearly evident in the Rolling Stone coverage in the 1986–91 period, from economic to aesthetic approbation of selective bands, particularly those identified with a thrash metal underground, which is nevertheless seen to emerge from within the genre or to be an aesthetic development of some of its key musical features, while rejecting others? Drawing on a comprehensive survey, composed of album reviews, lead or feature articles and interviews, drawn from the Rolling Stone archive, my research reports, in Part One of this article, a definite shift in the critical reception of heavy metal to economic accreditation in the 1980–85 period, based not only on the genre’s persistence and sustained economic success but also its ability to appeal beyond its core metal audience and therefore challenge the dominant rock and pop aesthetic. For some critics this means that a selective set of popular bands, such as AC/DC, the Scorpions and Def Leppard, can be afforded a degree of aesthetic approbation, even the status of ‘artists’. But this praise also leads to the Great Metal Question: can they now seek to move beyond the musical and lyrical conventions of heavy metal in order to appeal to a wider audience beyond their core fanbase?

In the cultural space of the subcontinent Sufi rituals constitute an important area of research, stirring academic and non-academic inquisitiveness. And in this regard no aspect of Sufi ritualism has been more contentious than the practice of Sama (Sufi musical assemblies). Frowned upon by orders such as the Qadiris and Naqshbandis; regulated by the State in the name of Shariah (Islamic Law), Sama assemblies have been, for centuries, the defining spiritual exercise of many a leading Sufi silsila. But what constitutes the sama? How does the content(s) of such a ritual arouse spiritual sensibilities? Is there any definite structure for conducting such assemblies? These are some of the questions this paper will try to answer. While analyzing the ritual content of Sufi music the vast range of mystical poetry of both classical and south Asian Sufism needs to be taken into consideration. Indeed the music of sama is not normally conceived as apart from Sufi poetry that constitute the text. These texts create a poetic idiom, rich in image and metaphor together with a discernable degree of symbolic interpretation. What sort of an image, and of whom, do these texts portray? Who constitutes the central focus of these poetical imageries? Is there any dominant ideology working behind these textual interpretations? Such questions tend to arise, an answer to which will be sought in the course of my discussion.

Pyotr Alexandrovich was born in 1871 in Florence in the family of Professor A. A. Herzen of the University of Lausanne. In 1896, he studied at the medical faculty of the University of Lausanne and began working at the Caesar Roux Clinic. In 1997, Pyotr Alexandrovich received a Doctor of Medicine degree and, fulfilling his grandfather's will, left for Russia. In 1898, P. A. Herzen received a Russian diploma of a doctor with honors. Then Pyotr Alexandrovich worked as an external doctor until 1900, and then until 1920, with breaks for service in the army as a military surgeon he was a resident of the surgical department of the Old Catherine Hospital in Moscow. During the Russian-Japanese War, Pyotr Alexandrovich was a surgeon on the Manchurian front, a surgeon in the active army during the First World War, and a consultant at the 151st military hospital during the Civil War. In 1909, he defended his dissertation for the degree of Doctor of Medicine in Russia. In 1917, he became the head of the Department of Operative Surgery, in 1921-General Surgery of the 1st Moscow State University. The clinical base of the department was the Institute for the Treatment of Tumors (now the P. A. Herzen Moscow Research Oncological Institute), the director of which was P. A. Herzen from 1922 to 1934. In 1926, he was first elected chairman of the Surgical Society of Moscow, and in 1929 the XXI Congress of Russian Surgeons. In 1934, Pyotr Alexandrovich became the head of the Department of Hospital Surgery of the 1st Moscow Medical Institute and in the same year he was awarded the honorary title of Honored Scientist of the RSFSR, and in 1939 he was elected a corresponding member of the USSR Academy of Sciences. He created the world's first pre-thoracic artificial esophagus (1907), was the first in the USSR to perform thoracoscopy for chronic pleural empyema (1925), suturing of a heart wound (1904), liver resection, developed a number of original operations: intra-abdominal fixation of the rectum when it falls out; application of cholecystoenteroanastomosis (1901), cholecystectomy, trans-vesical prostatectomy (1906); omentorenopexy of the lower pole of the kidney (1913); operations for anterior cerebral, inguinal and femoral hernias; developed the principles of surgical treatment of traumatic aneurysms. He also made a significant contribution to solving the problems of vascular surgery, oncology, urology, cardiac surgery, etc. He published 84 scientific papers, including 5 monographs. P. A. Herzen created the largest school of Soviet surgeons, oncologists. He was an honorary member of the French Academy of Surgery, the International Society of Surgeons, chairman of the surgical societies of the RSFSR and the USSR (1926-1928; 1935-1936), the XXI and XXIV All-Union Congresses of Surgeons (1929, 1938). P. A. Herzen was awarded two Orders of the Red Banner of Labor, medals, including "For the Defense of Moscow". P. A. Herzen died in January 1947 and was buried in Moscow. The Moscow Research Oncological Institute, the periodical " Oncology. The journal named after P. A. Herzen". A memorial plaque in his honor is installed in the First Moscow State Medical University named after I. M. Sechenov. His name is given to surgical operations used for anterior craniocerebral and femoral hernias, hydronephrosis, cryptorchidism, the creation of an artificial esophagus from the small intestine, esophagoejunostomy after removal of the stomach, and others.

Knut Wiggen (1927–2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts,1 but the links between Knut Wiggen’s technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen’s personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus.Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen’s achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used,2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer.The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.

October 16, 2018 is the 75th anniversary of the birth of an outstanding ethnomusicologist and folklorist, Doctor of Art History, professor M. A. Lobanov. His life and work are the examples of selfless devotion and service to science. The name of the scholar is inseparable from the processes of the development of musicology and folklore of the last decades. Lobanov contributed to the formation of new areas of research in ethnomuscology and exact academic research base, laid the conceptual basis for the study of genre and types of folklore style discovered by him, created an academic and pedagogical school in the field of studying archaic forms of traditional music and inter-ethnic interrelations. His numerous works, fundamental multi-volume works on bibliography, systematics of tunes, indexes have enriched modern science, laid solid foundations for future research in the field of theory and history of ethno-musicology. The materials of the study were the works of the scholar, personal impressions obtained during many years of communication with him, as well as the articles published in encyclopedias, journals and newsletters. The work uses the principles of historical analysis and generalization. The article gives a brief description of the activities of the scholar; analyses his fundamental works in the field of musical Slavic and Finno-Ugric Studies, and inter-ethnic folklore connections. It defines the significance of Lobanov’s works for the subsequent development of national and international ethnomuscology.

Robert Dow, the original owner of Oxford, Christ Church (Och) MSS 984–8, was the eldest son of Robert Dow (1517–1612), citizen and Merchant Taylor of London. According to the 1568 Heraldic Visitation of London, Robert junior was fifteen at that time, and so was born in 1553; he had four brothers, John, Henry, Thomas and Richard, aged twelve, ten, five and two and a half years respectively. Since both John and Henry attended Merchant Taylors’ School, it is probable that Robert did likewise, though we cannot be certain of this since no accurate register of pupils was kept until Robert Dow senior instituted the School's Probation Books in 1607. Another not unreasonable expectation would be that the young Robert went up to St John's College, Oxford, given his father's munificience towards that College and its strong links with the Merchant Taylors’ Company. However, such an assumption would be unwarranted, and indeed, no Oxford college has any official record of him as an undergraduate. Fortunately in the British Library there are three holograph letters in Latin from Dow to Lord Burghley, dated 20 September, 4 October and 8 November 1573, written ‘Oxoniae (Oxonij), in Collegio Corporis Christi’. Since he does not sign himself ‘discipulus’ or ‘alumnus’, it is hardly surprising that there is no mention of his name in the College's Registers, and therefore the most likely explanation for his presence at Corpus Christi is that he was a gentleman-commoner, though this cannot be verified. Whatever his status, we know that Robert Dow definitely proceeded B.A., for the Oxford University Register of Congregation and Convocation 1564–82 has the following entry for 12 October 1573 recording his supplication for that degree: Supplicat etc. Robertus Dowe scholaris facultatis artium quatenus in studio dialectices quatuor annos posuerit generalis creatus fuerit bacchalaurio xlma respondent ceteraque omnia perfecerit quae per nova statuta requiruntur ut haec ei sufficiant ut admittatur ad aliquem librum logices legendum. Concessa [est] modo determinet proxima xlma 7.

The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.

The development of informational technologies makes it possible to expand to a considerable degree the domain of the unexplored, revealing new, at times unusual, remarkable and unexpected facts, for example, from the past history of our country, from the history of the formation of its national cultures. One such discovery may be deemed to be the information about the initial stage of work on the establishment of the national theater of Kalmykia. The reader’s familiarization with this interesting event is what comprises the goal of the present article. Its content includes information about the preparation and the realization of the grandiose theatrical premiere of the performance of “Ulan-Sar” — an original mass entertainment event which united theater, music and choreography with ethnography and folklore. Since the performance possessed an interregional status, the article lists the cities and organization which massively participated in this large-scale event, as well as its organizers. A special place is taken by information about the critical-analytical article of professor, Doctor of Philological Sciences, folklorist Alexei Smirnov-Kutachesky (1876 – 1958) devoted to detailed study of this production. Mention is also made of the tragic fate of its author, Sandzhi Kalyayev (1905 – 1985), a great enthusiast, the organizer and first director of the national theater of Kalmykia, subsequently the first people’s poet of the republic.

It is to define its relationship with the partners during the formation and registration process of S Company Is a legal document prepared and also refers to the minute of the angle corresponding to the MOA 360 minute mark. Each minute represents 1/60 of a degree, just like the minutes of an hour. When shooting, even a small angle can cause you to miss the mark, so it is important to adjust your MOA to a precise angle or fine for a minute. Stands for Memorandum of Association, which refers to articles of association. They help protect and build your business and help establish the company's identity, work ethic and goals. The MOA's first duty is to obtain the patient's personal information before proceeding with the medical journey. Once the MOA collects the patient's information, he will begin transferring the patient to the doctor's office. At this point, the doctor may begin to perform medical procedures. Memorandum of Association (MOA) with its partners defines a company relationship. Is a Memorandum of Association (MOA) To define its relationship with partners Formation of limited liability company And is a legal document prepared during the registration process. The Military Operation Area (MOA) is a Class A aircraft designated to distinguish or differentiate certain hazardous military operations from IFR traffic and to identify VFR traffic carrying these operations. A company is also involved in a business or industrial organization is In order to operate a law firm Created by a group of individuals. They vary between private and public companies. Both have different ownership structures, Terms and conditions include financial statement requirements. The document containing Rules governing the internal management of a company and the regulations are called the article of the association. Select the document type as the consolidation document and select the year the attachment was filed. Pay the fee and request a certified copy. Memorandum of Association (MoA) Memorandum of Association articles there are the following subcategories: This subdivision refers to the name of the company. Company name should not be synonymous with any existing company. Also, if it is a private company, the last word should be the private company.

The paper focuses on how the decipherment of Maya writing by Yuri Knorozov was promoted in the context of Soviet science diplomacy in the 1950s, and the reaction to this discovery in the foreign public sphere. The process of informing about Knorozov’s breakthrough in the study of Maya hieroglyphs began in the summer of 1952 in “Literaturnaya gazeta”, even before the official publication of his article. In response, “The New York Times” published two comments in which the name of the young Russian scholar was mentioned for the first time. Particular interest was expressed in Mexico, where all major newspapers reacted to the news from USSR. This motivated the Soviet embassy to publish an abbreviated Spanish translation of Knorozov’s article in their bulletin in 1953. This publication, in turn, contributed to the spread of information both among a wider audience and among the academic community. After the defense of Knorozov’s dissertation, when he was awarded the degree of Doctor of Sciences (Habilitation), a new promotion campaign started. His report on the decipherment with an English translation was distributed to the participants of the 10th Congress of Historical Sciences in Rome (1955), and later he presented his discoveries at the 32nd International Congress of Americanists in Copenhagen, which caused a wide international responce. Publications in the Soviet public journals such as “Sovietsky Soyuz” (Soviet Union) and “Novoe Vremy a” (The New Times) played a special role. They paid less attention to the ideological confrontation and highlighted the achievements of Soviet historical science. By the end of the 1950s, the decipherment of Maya hieroglyphs became one of the main elements of the positive image of Soviet science.

AbstractThis article was adapted by Aaron Corn from a lecture presented by Joe Gumbula at the Koori Centre at the University of Sydney on 5 April 2007. The day before, Joe had been admitted to the degree of Doctor of Music honoris causa at the University, and had only recently started work at the Koori Centre on his first Australian Research Council (ARC) project as an ARC Indigenous Research Fellow. Called “Elder Assessments of Early Material Culture Collections from Arnhem Land and Contemporary Access Needs to them among their Source Communities” (DI0775822) and including Aaron Corn as a nominal Mentor, this was the first ARC project to be led by a Yolŋu Chief Investigator. It enabled Joe to undertake detailed research into the Yolŋu heritage collections held in the University of Sydney’s Archives and Macleay Museum. Eighteen members of Joe’s family from Miliŋinbi (Milingimbi) and Galiwin’ku, who were visiting Sydney to attend his graduation ceremony, were present at this lecture. Joe’s assured and impassioned delivery on this occasion aptly demonstrates his exemplary knowledge of Yolŋu heritage, his mastery in applying Yolŋu law to its interpretation, and his ability to engage others in the process and significance of collections research. All University of Sydney materials that Joe presented in the lecture were later published in his 2011 book, Matjabala Mali’ Buku-ruŋanmaram: Images from Miliŋinbi (Milingimbi) and Surrounds, 1926–1948, and, in this article, are cross-referenced to this source, which remains available for purchase from Sydney University Press.

Rene Lerish was born in 1879, graduated from the Maristes School. In 1893 he received a bachelor's degree in rhetoric. In the years 1899-1900 Lerish served military service. In 1902, after graduating from the Faculty of Medicine in Lyon, he worked as an external student. In 1906, Lerish wrote a doctoral thesis on gastric resection for cancer. In the First World War, Lerish was at the front, where, among other things, he headed the school for the improvement of military field surgeons, wrote a number of works on the treatment of fractures, suggested organizing a center for vascular surgery. After the war, Leriche worked in Lyon until 1924, when he received the department of clinical surgery at the University of Strasbourg. In 1937, he took the place of professor at the College de France. Rene Leriche investigated the problem of pain, studied the sympathetic nervous system, including. Leriche developed access to the parathyroid glands, methods of resection of the stomach and treatment of trophic ulcers with varicose veins, periarterial sympathectomy (1913), operations for endarteritis obliterans and post-thrombophlebitic syndrome, described the syndrome of Leriche and proposed a method for its treatment. His work has also been devoted to problems of orthopedics, surgical endocrinology and anesthesiology. Leriche was the author of the concept, which called for restoring not so much the structure, but the function of the affected organ. Returning to Lyon in 1940, he resigned from the post of Minister of Health and until 1952 worked at the Center for Vascular Surgery in Lyon. He was the founder and first president of the European Society of Cardiovascular Surgeons. In 1955, Rene Lerish died. He published about 1,200 scientific papers, including 21 monographs. Leriche was a member of the Paris Academy of Sciences (1945), the National Academy of Medicine and the Academy of Surgery of France (1946), received the title of honorary doctor of thirty foreign universities. In 1958 in France a postage stamp was issued with his name and a portrait on it.

This report was made at the Doctor Honoris Causa conferred to Prof. Leonidas Donskis by Valahia University of Târgoviște on November 6th, 2014. The editors express their gratitudeto Vlad-Gabriel Ghiorghiu, a CoolPeace graduate, for the admirable translation of this report. The publication of this report is supported by EEA Grants, contract no 4/22.07.2014. Currently a professor of advanced studies and academic development at the ISM University of Management and Economics of Kaunas and Vilnius, Lithuania, and a former member of the European Parliament, Leonidas Donskis was born on the 13th of August 1962 in Klaipėda, Lithuania. From 2005 to 2009 he served as dean of the Faculty of Political Science and Diplomacy at Vytautas Magnus University of Kaunas, Lithuania. As a docent, visiting and associate professor, he also taught at the University of Helsinki, Finland, in the field of social and moral philosophy, at the University of Tallinn, Estonia, in the field of philosophy and theory of culture, as well as universities from the United States (Dickinson College, Pennsylvania and Montevallo University, Alabama) in the field of cultural studies and universities from England, Italy and Hungary in similar fields of endeavor. Alongside his scholarly career stands his remarkable contribution to the field of the mass-media, both as a producer and moderator of cultural programs for the Lithuanian Television or as editor for the print media (The Baltic Times, The Ukrainian Week etc). The academic bettering carried out in countries like Lithuania and Finland spawned his encyclopedic character and determined the ramification of his intellectual interests. His bachelor’s degree in philosophy and theater, received from the Lithuanian State Conservatoire (presently the “Lithuanian Academy of Music and Theatre”) in 1985 was followed by a master’s degree program in philosophical studies at the University of Vilnius (1987). From the same university he took his first doctorate in philosophy and the humanities, with a thesis about the culture in crisis and the philosophy of culture in the views of O. Spengler, A. J. Toynbee and L. Mumford (1990). This was soon to be followed by a second doctorate, received from the University of Helsinki, with a thesis dwelling on the relation between ideology and utopia, moral imagination and cultural criticism in the 20th century (1999).

This paper is an expanded version of a talk given at a Generic Skills Workshop at the University of Wollongong, and was intended for academic staff from any discipline and general staff with an interest in teaching. The issues considered in the paper include the capacity of all to learn, the distinction between learning as understanding and learning as information, the interaction between the communication and content of ideas, the tension between perception and content in communication between persons, and the human functions of a love of learning. In teaching, the creation of a fear-free environment is emphasised, as is the use of analogy as a means of breaking out of one discipline and making connections with another, with mathematics and history being used as a possible example. Some of the issues raised are explored in more depth in the notes at the end of the paper, to which there are references in the main text. About the author. Rodney Nillsen studied literature, mathematics and science at the University of Tasmania. He proceeded to postgraduate study at The Flinders University of South Australia, studying mathematics under Igor Kluvánek and, through him, coming into contact with the European intellectual tradition. He held academic positions at the Royal University of Malta and the University College of Swansea, Wales. Upon returning to Australia, he took up a lecturing position at the University of Wollongong, where he continues to teach and conduct research in pure mathematics. At the University he is a member of Academic Senate and is the Chair of the Human Research Ethics Committee. He received a Doctor of Science degree from the University of Tasmania in 2000. His interests include literature, classical music and the enjoyment of nature.

The name of Olga Gyuzeleva is usually mentioned in connection with the history of the Sofia Opera, as she is among its founders. In addition to being among the few female members of the intellectual elite and a participant in a revolutionary cultural endeavor, fate also connected her with one of the emblematic couples in Bulgarian literature at that time – Pencho Slaveykov and Mara Belcheva. Olga was the woman who left for Brunate in the spring of 1912 to share with Mara Belcheva the hardest months after the death of the poet. Olga Gyuzeleva was the youngest of the four daughters in the family of Stephanie Gyuzeleva and Ivan Gyuzelev. Similarly to her sister, she graduated in Dresden with a degree in music. After her return to Bulgaria, she devoted herself to versatile cultural activities - an opera singer, an actress, a pianist, a teacher, and an interpreter. In 1910 or 1911, Gyuzeleva married Major Krastyu Angelov – one of Mara Belcheva’s brothers. Valuable information about her life and activity is found in her personal archive, which has not been explored yet. In the 1917/1918 season, she was a full-time actress in the National Theatre, performing parties in the operas of Gounod, Bizet, Verdi, etc. At the same time, she was teaching private solo singing and piano lessons in Sofia and Varna. In 1925, she was wounded during the terrorist attack on St. Nedelya Church. She died lonely at the age of 91 in a nursing home in Kazanlak.

Valentin Feliksovich was born on April 27, 1877 in the eastern part of the Crimea, in one of the oldest cities in the world, at a unique resort located on two seas at once Kerch. His father, Felix Stanislavovich, was a pharmacist and worked as a manager of a private pharmacy of D.I. Kundin, whose daughter, Maria Dmitrievna, was his mother. Valentin Feliksovich was born into a family belonging to an ancient family of impoverished Polish nobles. Of his 14 sisters and brothers, only five survived to adulthood.In 1880, the family of Valentin Feliksovich left Kerch for Kherson, then to Chisinau, in 1889 to Kiev. In 1896, Valentin Feliksovich graduated from the gymnasium and art school of Nikolai Ivanovich Murashko.Then Valentin Feliksovich studied for a year at the Faculty of Law, at the private art school of Knirr in Munich, but in 1898, deciding to become a doctor, he entered the medical faculty of Kiev University.Valentin Feliksovich, having received a doctor's degree, worked at the Red Cross hospital in Kiev, during the Russian-Japanese war he headed the surgical department of the Chita hospital as part of the Red Cross medical detachment, later worked as a surgeon in Ardatov, Simbirsk province, in the village of Verkhny Lyubazh and Fatezh, Kursk region. During this period, he married the daughter of the estate manager, sister of mercy Anna Vasilyevna Lanskaya. In 1909, Valentin Feliksovich entered the Moscow University as an external student to Professor P.I. Dyakonov.In 1915 he published the monograph "Regional Anesthesia" and in 1916 defended it as a dissertation with the award of the degree of Doctor of Medicine. By this time, Valentin Feliksovich had mastered operations on the heart, brain, organs of vision, gastrointestinal tract, including stomach, intestines, bile ducts, kidneys, spine and joints. Until 1917, Valentin Feliksovich worked as a doctor in hospitals in central Russia, later as the chief physician of a hospital in Tashkent, professor at the Central Asian State University. Moving to Tashkent is associated with the progression of his wife's tuberculosis, which required her to stay in a warmer climate, but in 1919, the wife of V.F. Voino-Yasenetsky died, leaving him to take care of four children. In February 1921, he was ordained a deacon, a week later a priest, on May 31, 1923, he was tonsured a monk and consecrated a bishop with the name Luke, and a week later he was arrested.At the beginning of 1926, Valentin Feliksovich returned to Tashkent. But on May 6, 1930, he was detained and transferred to Arkhangelsk. In the autumn of 1933, from exile, Valentin Feliksovich wrote a letter to the People's Commissar of Health about the need to organize an institute of surgical infection in the country and, having received no response, went to Moscow at the first opportunity for a personal meeting, at which he rejected the offer to renounce holy orders and instead accept the post of director of the institute.In the autumn of 1934, Valentin Feliksovich published a widely known monograph, including abroad: "Essays on purulent surgery". For several years, Professor Voino-Yasenetsky headed the main operating room of the Tashkent Institute of Emergency Care, but on July 24, 1937, he was arrested again, for the third time. Since March 1940, he has been working as a surgeon a hundred kilometers from Krasnoyarsk in the Bolshaya Murta of the Yelovskaya volost.After the outbreak of the Great Patriotic War, Valentin Feliksovich sends a telegram to M.I. Kalinin, in which he asks to be sent as a surgeon to the hospital, expressing his readiness to continue exile after the Victory.In September 1941, the chief surgeon of the region took V.F. Voino-Yasenetsky by plane to Krasnoyarsk to work as the chief surgeon of the evacuation hospital No. 1515, which was later recognized as the best of the 17 hospitals of the region.Since October 1941, Valentin Feliksovich has been a consultant to hospitals in the Krasnoyarsk Territory and chief surgeon of the evacuation hospital. In the autumn of 1942, he was elevated to the rank of archbishop and appointed to the Krasnoyarsk department. In 1944, Valentin Feliksovich published his monographs: "On the course of chronic empyema and chondrates", "Late resections of infected gunshot wounds of joints". Since February 1944, Archbishop Luke has been the head of the Tambov Department, and is a consultant surgeon at Tambov hospitals. In February 1945, Valentin Feliksovich was awarded by Patriarch Alexy I the right to wear a diamond cross. He is writing the book "Spirit, Soul and Body". Since May 1946, he has headed the Crimean Department in Simferopol and in the same year was awarded the Stalin Prize for the monograph "Essays on purulent Surgery", 130 out of 150 thousand of which he gives to the needs of wartime orphans.In 1955, Valentin Feliksovich completely went blind, but continuing to work and in 1957 dictated his memoirs. V.F. Voino-Yasenetsky died on June 11, 1961 in the rank of Archbishop of Crimea and Simferopol on the Day of All Saints who shone in the Russian land.Valentin Feliksovich is the author of 55 scientific works on medicine, ten volumes of sermons. He was elected an honorary member of the Moscow Theological Academy in Zagorsk. He was awarded the Chojnatski Prize from the University of Warsaw (1916), the Diamond Cross (1944), the medal "For Valiant Labor in the Great Patriotic War" (1945).In 1995, Valentin Feliksovich was canonized as a locally venerated saint in the Crimean diocese, in 2000 he was glorified as a confessor (saint) in the host of New martyrs and confessors of Russia. His relics are installed for worship in the Cathedral of Simferopol.On July 14, 2008, V.F. Voino-Yasenetsky posthumously became an Honorary Citizen of Pereslavl-Zalessky. On June 19, 2020, by Decree of the President of the Russian Federation, the Medal of Luke Krymsky was established, awarded for merits in healthcare.In memory of V.F. Voino-Yasenetsky, over 69 churches of St. Luke were opened, including in Russia (Moscow, Balashikha, Voronezh, Yevpatoria, Yeysk, Yekaterinburg, Donetsk, Zheleznogorsk, Kerch, Kovrov, Krasnoyarsk, Murmansk, Nizhny Novgorod, Novosibirsk, Novy Svet, Obninsk, Olginka, Orenburg, Perm, Petrozavodsk, Saki, Saratov, Simferopol, Stavropol, Ulyanovsk, Chelyabinsk, Chita, Yuzhno-Sakhalinsk), in Ukraine (Kiev, Sumy, Odessa, Vinnytsia, Dnipro), Greece and other countries. Monuments and busts were installed only in Russia in the years Moscow, Yeysk, Krasnoyarsk, Lipetsk, Nizhny Novgorod, Simferopol, Tambov and other cities. The name of Professor V.F. Voino-Yasenetsky was given to the Krasnoyarsk State Medical University, St. Petersburg Clinical Hospital, and the Society of Orthodox Doctors of St. Petersburg.

Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.

The article attempts to build a multimodal model of toxic political communication and determine common and distinctive features of the semiotization of political toxicity in the media environment of the United States, Great Britain and Ukraine. Toxic political communication is interpreted as a type of interaction characterized by a high degree of aggressive (verbal and/or paraverbal) behavior of various participants in the political discourse, which causes moral harm or discriminates against the opponent based on race, nationality or gender resulting in such politician(s) being perceived and then defined as toxic. The constructed model of toxic political communication takes into account multimodal mechanisms of the discursive expression of toxicity (verbal, paraverbal, extralingual), modes of expanding the toxic effect (direct, indirect, and mediated), mechanisms of perception and image formation of politicians (toxic vs. positive) in the media environment of the respective countries.We determined that toxicity is manifested in derogatory statements by politicians, which contain insults, name-calling, ridiculing, emotional and inclusive utterances aimed at polarization and causing psychological and/or image damage to participants in the political debate (opponents). Toxic paraverbal co-speech means are divided into prosodic and gestural-mimic forms, which include aggressive, caustic, derogatory, paternalistic, pompous tone of speech, gestures that violate the personal boundaries of the interlocutor, exaggerated facial expressions. Extralingual forms of toxic communication include poster colors, electoral campaign symbols, clothing, rally sites, music, etc., which intensify the damaging effect of actions/utterances of a politician who is defined as toxic in the media. We found that contrasting forms of the semiotization of political toxicity in the media environment of the United States, Great Britain and Ukraine are determined by the relevant information agendas for each of the countries, for example, racism and intolerance towards migrants (USA), Partygate (Great Britain), zrada (betrayal) vs. peremoha (victory) (Ukraine) and others. Common to the three linguistic cultures is the aggressive type of politician-speaker, whose utterances/behavior are prone to dramatizing and aimed at causing psychological damage to the opponent’s personality through direct or indirect derogatory images accompanied by prosodic, gestural and facial emphases.

Sergei Ivanovich Spasokukotsky was born in Kostroma in 1870 in the family of a Zemstvo doctor. In 1879 he entered the Yaroslavl provincial gymnasium, in 1888 the medical faculty of Moscow University. Having received a doctor's degree, Sergey Ivanovich supervised the construction of the hospital on the Arkhangelsk railway, worked in the clinic of Professor L. L. Levshin in Moscow. In 1898, S. I. Spasokukotsky defended his thesis on" Bone grafting in amputation of limbs." In 1900. he makes a report on hernias at the I Congress of Russian surgeons, and 3 years later publishes his report on 600 performed hernias. In 1902, he presented a scientific study on "the gatekeeper's Obstruction and its surgical treatment". By the end of the 1900s, half of the stomach operations in Russia were performed by S. I. Spasokukotsky. In 1909-1911 he worked as the head of the surgical Department of Saratov city hospital, since 1912. Professor of the Department of topographic anatomy and operative surgery, then head of the Department of hospital surgical clinic of Saratov University. S. I. Spasokukotsky studied various aspects of the treatment of ulcers and stomach cancer, problems of acute appendicitis, liver surgery, biliary tract and postoperative complications, neurosurgery. He was the first to use fat swabs to fight bleeding in brain surgery (1913). In 1915, during the First world war, he worked as a consultant surgeon on the South-Western front. Invented a method of skin-bone flap, suggested puncture method of treatment of abscesses of the brain. In 1923 S. I. Spasokukotsky for the first time in the USSR made and highly estimated diagnostic value of encephalography; one of the first began to develop a problem of surgical treatment of brain tumors, made resection of a share of a lung, for the first time pointed to the actinomycotic nature of group of pulmonary suppuration. He demonstrated the advantages of thoracoplasty in his work "the Role of surgery in the treatment of purulent pulmonary diseases. Thoracoplasty" (1925). Since 1926 Sergey Ivanovich is the head of the faculty clinic and the Department of faculty surgery of the 2nd Moscow medical Institute. N. And. Pirogov (now Russian national research medical University named after N. And. Pirogov). He introduced a polyclinic reception, strict adherence to asepsis, visiting patients at certain hours, local anesthesia, developed a method of treating the surgeon's hands. Since 1927, S. I. Spasokukotsky chief surgeon of the Medical and sanitary Department of the Kremlin, head of the surgical sector of the Institute of blood transfusion in Moscow. His experience was summarized in the monograph "blood Transfusion in surgery" (1935). From 1935 to the end of his life S. I. Spasokukotsky was a member of the Board of the all-Union society of surgeons. He was a member of the editorial Board of a number of medical journals and from 1921 to 1932 was editor of the journal "New surgical archive". S. I. Spasokukotsky was awarded the Stalin prize of I degree (1942), the government cash prize of 30 thousand rubles and the ZIS car, orders of Lenin, the red banner of Labor and medals In 1942. Sergey Ivanovich was elected a full member of the Academy of Sciences of the USSR. The scientific school of S. I. Spasokukotsky consists of 35 professors, 33 associate professors and candidate of medical Sciences. He published more than 143 scientific publications, including monographs. On November 17, 1943 Sergey Ivanovich died of liver cancer and was buried at Novodevichy cemetery in Moscow. His name is called surgery (herniation, gastric resection, amputation). The street was named after Spasokukotsky in Kostroma; in Moscow: faculty surgical clinic of the Russian national research medical University named after N. So. Pirogov and city hospital №50 (2015). In front of the main building of the City clinical hospital №1 on Leninsky Prospekt it has a monument-bust.

Alexander Aminev was born in 1904 in the village of Pokrovsky, Artyomovsky District, Sverdlovsk Region. From 1914 to 1919, he studied at the men's gymnasium, after the second grade school. Irbitsk. In 1921, Alexander Mikhailovich entered the medical faculty of the Ural University. In 1926, he became an intern at the Proedeutic Surgery Clinic, and then Assistant of the Department of General Surgery of the Medical Faculty of Perm University. In 1935 he was awarded the academic title of candidate of medical sciences. From 1936-1937 years A.M. Aminev worked as a director of the propedeutic surgical clinic, from 1936-1938. - Secretary of the editorial staff of the Works, from 1937 - assistant professor, from 1937 to October 1938. From 1937 he began to study and develop an endoscopic method - peritoneoscopy, for the first time in the USSR Endoscopic liver biopsy, liver wound tamponade and epiploon, removal of a foreign body from the abdominal cavity and dissection of adhesions. In 1938, A.M. Astrakhan was appointed director and at the same time head of the department of faculty surgery at the Astrakhan Medical Institute. In 1940, he received the degree of Doctor of Medical Sciences and the title of professor. Since the beginning of World War II, Professor A.M. Aminev was appointed part-time free surgery of the hospital department of the Astrakhan regional health department. In September 1942, he was called up to the front by an army surgeon of the 28th Combined Arms, and then the 5th Panzer Army, and went from Stalingrad to Berlin.In 1945, A.M. Aminev moved to Kuibyshev, where he became head of the department of hospital surgery, headed for almost 40 years. In 1948 he wrote the first in the country monograph on peritoneoscopy on laparoscopy. He became the author of 14 monographs and 265 scientific papers on coloproctology. In 1964 he was awarded the honorary title of Honored Scientist of the RSFSR. In 1969 "Lectures on proctology" were published, they were marked with the Prize for them. N.I. Pirogov, Academy of Medical Sciences of the USSR. In the aggregate, A.M. Aminev is the author of 37 monographs and 518 scientific papers. Among his students are 112 candidates and 35 doctors of medical sciences.Alexander Mikhailovich is a member of the Board of Directors of Surgery, a member of the Board of the All-Union and All-Russian Scientific Society, a chairman of the Kuybyshev Regional Scientific Society of Surgery, an honorary member of the international community, and also a co-editor of the journal Gastroenterology, Colon and Rectum Surgery (USA), honorary member 11 scientific surgical societies of the country. He was beaten by a deputy of the regional, city and district Soviets of Workers' Deputies. A.M. Aminev was awarded the Order of Lenin (twice), the October Revolution, the Red Star, World War 1 and 2 degrees, eight medals. Alexander Mikhailovich died on February 11, 1984 and was buried in Kuibyshev, since 1991 - Samara.After the death of the scientist, his name was given. In 2007, in Samara, on Galaktionovskaya Street, where A.M. Aminev, a plaque was opened in his honor.

Gustav Albeck 1906 - 1995By William MichelsenWilliam Michelsen writes an obituary of Gustav Albeck, Professor of Nordic Literature. In his commemorative words, William Michelsen quotes at some length from the commemorative speech, made by Bishop Henning Høirup, Doctor of Divinity, on the occasion of Gustav Albeck’s funeral in the Cathedral of Aarhus.In his commemorative speech Bishop Høirup describes Gustav Albeck’s close ties to Aarhus, where his father, Chief Consultant Viggo Albeck, was the prime mover behind the foundation of the University of Aarhus. Thus, Gustav Albeck’s first publication after his university graduation in 1932 was a pamphlet about the history of the establishment of the Jutland university. The paper is evidence of a fundamental feature of Gustav Albeck’s personality: his loyalty to the family, and to the heritage from previous generations. It is emphasized by Henning Høirup that Gustav Albeck’s research work covered a wide field from runic inscriptions to modem Danish 20th century literature, and that his personal commitment and sympathetic insight combined seriousness with humour, most often inextricably linked together. As an expert on Danish Golden Age literature Albeck was superb. Høirup describes Gustav Albeck’s inspiring work in the Grundtvig Society from its foundation, and his 43 years as editor of Grundtvig Studier, the high scholarly standards of which were of paramount importance for him. Finally Bishop Høirup tells about Gustav Albeck’s invaluable work to promote classical music in Aarhus, and he concludes his speech by remarking on the joy felt by Albeck over the gift to man received in baptism, and his love of Danish poetry.Subsequently William Michelsen draws an equally personal portrait of Gustav Albeck and his work in literary history, in Grundtvig scholarship and popular enlightenment. Gustav Albeck took his M.A. degree in Nordic philology in 1932, and became a Doctor of Philosophy with his thesis on the Nordic Kings’ sagas in 1946, and in 1959 he was appointed Professor at the University of Aarhus, after having been on the teaching staff for a number of years. As early as 1934 Grundtvig wrote his first study of Grundtvig’s early poetry, and through the 1940s he published a number of shorter books on Grundtvig’s writings. In 1948 he contributed to the first annual volume of Grundtvig Studier, and in 1951 he became the editor of the yearbook, a post he held until his death.William Michelsen suggests that Gustav Albeck’s Grundtvig research should be seen on the background of Grundtvig’s visions of a new Danish university, unhampered by rigid academic traditions - visions that found expression in Grundtvig’s folk high school thoughts and his ideas of a Scandinavian university in Gothenburg. Gustav Albeck regarded the University of Aarhus and the University Extension Institution as realizations of these ideas. He agreed with Grundtvig about the crucial importance of popular enlightenment, but always preserved an objective and matter-of-fact distance to the ideas in Grundtvig’s writings. What was important to Gustav Albeck in literary studies was to state what literature says, not to evaluate it or relate oneself personally to it. Thus, to him it was essential to emphasize that Grundtvig was a poet and a great poet - a visionary poet who remained critical towards his own time. Albeck’s philological approach to literary scholarship finds expression in his work on Grundtvig manuscripts, such as the publication of .Grundtvig’s diaries and extract collections. in 1979. Albeck’s most significant book as a Grundtvig scholar was published in 1955 in the series Acta Jutlandica, entitled .Around Grundtvig’s Poetry Collections.. This book deals with Grundtvig’s poetical works in the years 1808-1816, but also contains a large amount of material that throws light on Grundtvig’s development over these years.Fundamentally important to Grundtvig research is Gustav Albeck’s preparation of a model for the registration of Grundtvig’s posthumous works, used by the group of scholars who worked out the 30-volume register. Gustav Albeck’s greatest book is his last publication, .University and People., from 1984, with the modest subtitle .Contributions to the History of the University Extension Institution.. The book contains a wealth of information about how Grundtvig’s vision of a people’s university became a reality around the turn of the century. For 30 years Gustav Albeck was the president of the University Extension Institution in Aarhus.William Michelsen concludes his obituary of Gustav Albeck by pointing out that as Albeck saw him, Grundtvig was not so different from his own time as we tend to see him today. And Gustav Albeck could finish his chapter on Grundtvig in the Politiken Literary History by quoting Jørgen Elbek saying that Grundtvig, with his unshakable faith in the word, was a poet in a far more exclusive sense than any of his contemporaries.

Heads: A medical student completes their Bachelor of Medicine and Bachelor of Surgery (MBBS) degree after five years of mentally exhausting and back-breaking toil. They then go on to complete one demanding year of internship in a hospital. Now they want to start their clinical practice. The regulatory body of physicians has some other ideas though. It wants them to give yet another exam, covering the same subjects they have cleared during MBBS. When they think they have the right to be practicing independently, they have to study hard and undertake an exam again. Tails: A regulatory body of physicians in the country knows the quality of medical teaching in the country is not uniform. The standard of training during internship also varies greatly. Yet, after attaining MBBS degree and completing internship, every medical doctor is deemed qualified enough to manage the patients without any supervision. The regulatory body, therefore, introduces a uniform licensing exam that every doctor needs to pass before starting independent clinical practice. It believes that only those who had attained a minimum acceptable level of competence will eventually be capable enough to pass the exam and thus be qualified to treat people. Medical licensing examinations are considered a tool to gauge a doctor’s competence for unsupervised clinical practice. The National Licensing Examination (NLE) was announced on 24th September 2020 in Section 20 of the Pakistan Medical Commission (PMC) Act 2020.1 The idea was inspired by similar exams in many other countries.2 Fast forward more than one year, this exam still faces stiff resistance from many medical students and Pakistan Medical Association (PMA).3,4 Broadly, there are two main objections: The nature of the exam itself, and its applicability. The medical students deem it unfair to be asked to appear in another exam after obtaining their MBBS degree. Another point of contention is in including all current medical students. It is argued that only those students should be asked to undertake the exam that began their MBBS education after the PMC Act 2020. A petition filed in Lahore High Court to this effect was dismissed by the adjudicating judge, making it mandatory for all current and future medical students to pass the NLE.5 Is this exam really so flawed that it should be abandoned altogether? Is PMC justified in taking this exam? Are the concerns of the protesting students valid? Is there a middle ground in this conflict? Let us analyze the current format of the NLE and compare it with the two most coveted medical licensing exams in the world. The NLE is designed as a two-step examination. The first step is the multiple-choice questions (MCQ) based theory component containing 70% MCQs from clinical sciences and 30% MCQs from basic sciences. A student has to pass this first step in order to qualify for the second Clinical Skills Examination (CSE). The CSE aims to evaluate essential clinical skills required by a general medical practitioner through a structured clinical examination. The students can appear in the first theory component only after acquiring their MBBS qualification. Both steps need to be passed in order to attain permanent medical license from PMC.6 The United States Medical Licensing Exam (USMLE) is the most well-known medical licensing exam in the world. It is a three-step exam comprising of Step 1, Step 2 Clinical Knowledge (CK), and Step 3. Step 1, an MCQ exam, is attempted by the local students at the end of 2nd year of medical education. It is designed to test the examinee’s aptitude to apply basic and integral science concepts to clinical scenarios. Step 2 CK is an MCQ exam that assesses the examinee’s grasp on the medical knowledge and understanding of clinical sciences that are considered essential for patient care under supervision. Local students appear in this exam in the 4th year of their medical education; passing this exam is essential to receive medical graduation. Step 3 is again an MCQ exam that assesses the candidate’s caliber to apply medical knowledge for unsupervised practice of medicine. This exam is attempted after obtaining medical graduation and passing the exam is necessary to practice independently in the US. After the decision to abandon the Step 2 Clinical Skills (CS) examination in February 2021, there is currently no clinical examination in the USMLE. International Medical Graduates (IMGs) need to clear Step 1 and Step 2 CK (not necessarily in order and at no fixed time) to become eligible for Step 3.7 The Professional and Linguistic Assessments Board test (PLAB) is a two-part exam taken by General Medical Council (GMC) of the United Kingdom (UK).PLAB 1 is an MCQ based exam that tests the examinee’s ability to apply the acquired medical knowledge to answer clinical-scenario based questions. PLAB 2 is a clinical exam that tests the candidate’s clinical and communication skills on standardized patients.8 Currently, only IMGs need to appear in the exam in order to practice medicine independently in UK. This is set to change from 2024; GMC has announced Medical Licensing Assessment (MLA) that both UK locals and IMGs will need to pass from 2024 onwards in order to attain the medical registration.9 It is clear from the above discussion that regulatory bodies in many countries including the US test their local students with standardized exam in addition to their medical college graduation. The UK has also announced a similar system for their local students from 2024. Therefore, concept of the NLE is a sound one, based on the international practices. The problem may lie in the format and timing of the exam. MBBS curriculum is broadly divided into two categories: Basic sciences and clinical sciences. Basic sciences, as the name suggests, contain core subjects that are essential to understand the basics of human body. These include subjects like anatomy, physiology, biochemistry, pharmacology etc. These are typically focused more during the first three years of MBBS. Clinical sciences deal with more practical subjects like medicine, surgery, paediatrics, gynaecology etc. These subjects are given more emphasis during the final two years of MBBS. The key to the deadlock may lie in the timing and curriculum of NLE. Currently, a student is asked to study all the subjects again after obtaining MBBS degree for the MCQ based theoretical exam.6 This means studying the basic sciences again, the portions of which they may have studied years ago. The exam may be divided into three separate portions comprising of a) MCQ exam of basic sciences, b) MCQ exam of clinical sciences, and c) a clinical skills exam. The idea is to take the exam when the students are actually studying the examined subjects, rather than taking it all together in the end. Table 1 demonstrates the proposed format and timing of the NLE. TABLE I: PROPOSED FORMAT AND TIMING OF THE NATIONAL LICENSING EXAMINATION Exam Subjects/Skills Format Minimum Qualification NLE Step 1 Basic Sciences MCQ 2nd Year MBBS NLE Step 2 Clinical Sciences MCQ 4th Year MBBS NLE Step 3 Clinical and Communication Skills Structured Clinical Examination 5th Year MBBS NLE=National Licensing Examination; MCQ=Multiple-choice questions; MBBS=Bachelor of Medicine and Bachelor of Surgery Splitting the exam into the three proposed steps will be advantageous for all concerned, i.e. PMC, medical students, and the public. PMC will achieve the desired objective of assessing a physician’s competence before offering registration. Students will be appearing in NLE steps that will be covering subjects in accordance with their current/recent MBBS curriculum. This will reduce the burden for the students and make the exam more agreeable for them. The public will receive healthcare only from those doctors who would have proved their competence. Heads or tails? We win both ways!

The article explains the role of extra-musical factors in the creation of the compositions, caused by the action of the art synthesis as a cross-cutting theme of the composer’s creativity in the European tradition. In the academic art, this phenomenon has acquired the status of the program method, which to some extent has directed the listeners’ perceptions. The actualization of the present topic and its predetermined task is to determine the degree of the correlation of the semantics of a new composition to its artistic original, since it is precisely on the “artistic type translation” that both the programmability and the ways of its implementation by means of the performing interpretation depend. The object of the article is the programmability as a condition of the composer’s idea; the subject is the author’s concept of “The Ancient Kiev Frescoes” by A. Stashevsky for the accordion, implemented in the genre-stylistic system of the individual and national-musical thinking. The purpose of the article is to identify the genre-stylistic factors of the author’s conception of the selected composition, which reflects the sound-poetic ideas about the ancient history of the native land, while forming the national memory of the modern Ukrainian. Analysis of the recent publications on the research topic. Among the fundamental works devoted to programmability, we should point out the works by V. Konen, which trace the tendency to expand the limits of programmability in music at the expense of non-musical influences, as well as those by M. Lobanova, who characterizes the synthetic genres (opera, theatre music, ballet, program symphony) in the historical dimension. G. Khutorskaya owing to the introduction of the category “interspecific translation” into the scientific circulation explains the means of the synthesis of arts in vocal compositions [5]. The interspecific interaction of the theatre, painting, dance, poetry and literature contributes to the reproduction of the complete picture of the world in music. The material for the development of the problem is the composition for the accordion called “The Ancient Kiev Frescoes” by A. Stashevsky, one of the bright representatives of the modern accordion school of Ukraine. Observing the author’s premieres (in particular, the accordion compositions) in the quality of a professional listener, one can state that his creativity has become an important part of the musical culture of the Slobozhanska Ukraine. As a multifaceted personality – an accordion performer, teacher, composer, and scientist – he embodies new ideas, genre-style models and corresponding techniques of the performing skills in his activities. A comprehensive analysis of the genre stylistics and a personal view of the performance dramaturgy of the interpretation of the program cycle have been given. “The Ancient Kiev Frescoes” by A. Stashevsky (2005), besides the program name, have a genre refinement of the “suite-notebook”, which contains the key to understanding the essence of the stated program. First, the notebook (the album) is holistic, and contains information about interrelated events of a certain era, arranged in a timeline (the linear sequence). Secondly, the pages of the notebook can be represented as the planes where the images are located – the frescoes of St. Sophia Cathedral in Kiev. The most valuable decoration of the cathedral is the mural, which has been preserved for centuries and is an example of the skill and artistic taste of ancient Ukrainians. In general, St. Sophia Cathedral embodies the philosophical credo of the era with its national idea, the expression of the spirituality of the Christian worldview. There are nine parts in the suite-notebook, each with a program title. The author’s idea is realized, on the one hand, through the programmability of the picture type, when the parts of the suite cycle constitute a single composition that is associated with a multi-figured mural (with its mosaic, stained glass). It is impossible to capture it at one glance, so getting acquainted with it implies a consistent arrangement of the fragments of the whole in time. On the other hand, there is a pervasive narrative throughout the cycle: all the parts sound attacca. The pages of the chronicle seem to be expanded in the temporal axis; there is also a general logic of changing the various musical murals that is subordinate to the latent programmability: from “Intrada” to the climax in Part 8 and Part 9 an associate connection (a story line) is established. Programmability-driven musical stylistic contains repetitive segments of the author’s language focused on archaic styling. Because of the singing type of thematism, the ostinato nature and variability of the means of its development, the expanded fret and tonal nature, the mosaic principle of the stringing of the motives, and their combining. In the conclusions it is emphasized that in the program composition for the accordion A. Stashevsky skillfully realized his plan as a projection on historical, musical-performing and picture-everyday images-echo. The incarnation of the ancient history of Kievan Rus by means of the fret-harmonious, texture-timbre and compositional-dramatic means fully presents the author’s conception of the composition – the harmony of a man and history, the updating of the Past, in order to understand one’s own mental foundations, self-awareness in the national cosmos and logo.

Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors &#8210; V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.

Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance of other bright characters is accompanied by instrumental music fragments, these are the King (J. S. Bach’s Second Orchestral Suite), the Ambitious Man (L. Delibes “Copp&#233;lia”), the Drunkard (“Winter” from A. Vivaldi’s “The Seasons”), and the Banker (J. S. Bach’s Suite for Cello Solo). So, the introduction of coloratura singing into the spectator’s plan of perception of the expressive-linguistic means of ballet opens a new symbolic world. Conclusions. Singing in a ballet is a specific manifestation of the art synthesis characteristic of modern choreographic performance. The vocal art emphasizes the highest, spiritual degree of communication, adding to the spectators’ experience a cathartic component. The interpretative function of singing in the concept of the performance is obvious: singing is a symbol (expression) of the divine essence of a human. Energy of vocals, multiplied by the traditional means of classical choreography and modern ballet, is a component of “multimedia modality” (Petrovic, 2017) as a sign of the interpretive thinking of the directors. Understanding the action of multimodality in the space-time of ballet is an interpretative dimension of spiritual reality. The prospect of researching. The study of modern forms of stage life of “singing in a ballet” indicates the need to develop this concept in the theoretical and methodological key, as well as to consider other examples of ballet performances (“One Thousand and One Nights” by F. Amirov, “Spartacus” by A. Khachaturian in Kharkiv Opera and others).

Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and instrumental works by F. Schubert. This question is regarded on the example of three last Piano Sonatas by F. Schubert. Having been written in proximity to composer’s death, they demonstrated unity of composer’s style, achieved by him by integrating his innovations in song and instrumental genres into a unity of the highest degree. Objectives and methodology. The goal of the given article is to study the structure of selected songs by F. Schubert, marked by throughout dramatic development, and to reveal their influence on composer’s last piano sonatas. In order to achieve these goals, compositionally-dramaturgical and comparative methods of analysis were used. Theoretical preconditions. As a reference point for studying of influence of F. Schubert’s songs on his instrumental works, we might consider an article by V. Donadze (1940). In this research author for the first time formulated a view on composer’s song lyricism not only as on central element of his heritage, but also as on a factor, penetrating and uniting all the genres, in which the composer had worked. Thus, concept “song-like symphonism” entered musicological lexicon. The fruitful idea about song-like thinking of F. Schubert found rich development in numerous works of researchers of next generations and keeps its relevance up to nowadays. Results. Even in the one of the very first masterpieces of a song – “Gretchen am Spinnrade” – the author creates unique composition, organized by a circular symbol, borrowed from J. W. Goethe’s text. Using couplet structure as a foundation, F. Schubert creates the structure in a way, creating illusion of constant returning to the same thought, state, temporal dimension. The first parts of every couplet repeat, the second ones – integrate into a discrete, although definitively heading to a culmination, line of development. Thus, double musical time emerges simultaneously cyclical and founded on an attempt to achieve a goal. In the sonata Allegri, regarded in this article, the same phenomenon is revealed in interaction of classical algorithm of composition and functional peculiarities of recapitulations, which are transformed into variants of exposition. As an example of combination of couplet-born repetitions with throughout development we may name song “Morgengruss” from “Die sch&#246;ne M&#252;llerin”. The same method of stages in the exposition and recapitulation can be found in sonata Allegro of Sonata in C Minor. Polythematic strophic structure with throughout development is regarded on example of “Kriegers Ahnung” (lyricist Ludwig Rellstab) from “Der Schwanengesang”, which is compared to Andante from the before mentioned Sonata. Special attention is drawn to the cases in which cyclical features, characteristic for F. Schubert’s songs, find their way into sonata expositions and recapitulations. In the first movement of Sonata in B-flat Major these chapters of musical structures consist of three quite protracted episodes, which might be identified as first subject, second subject and codetta, respectively. Each of these episodes has its own key, image and logic of compositionally-dramaturgic process, while being marked by exhaustion of saying, which approximates the whole to a song cycle. The logic governing the succession of the episodes is founded not on causation (like in classical sonata expositions and recapitulations), but on the principles of switching from one lyrical state to another. The same patterns of structure are conspicuous in exposition and recapitulation of the first movement of Sonata in C Minor, in which the first section is marked by throughout development, the second one is a theme with two different variations, and the third one, the one recreating the process of rumination, with long pauses and fermatas, interrupting graduality of the movement, is founded on the contrast between playful and lyrical states. The outer movements of Sonata in A Major consist of several episodes. The first subject in ternary form has contrasting middle section; quite uncommon for F. Schubert linking episode dilates so much its function of “transition” is almost lost; enormous second subject eclipses the codetta in every section; it is an unique world, a palette of moods, images, musical events. Conclusions. Innovativity, characteristic for F. Schubert in the field of Romantic song, reveals itself not only in the spheres of images and emotions, musical language, interaction between vocal melody and piano part, but also in the organization of a structure. This allowed to re-evaluate means of organization of compositionally-dramaturgic process in piano sonatas by the composer as in the genre of instrumental music. While in the songs and song cycles these principles of structure were closely connected to extra-musical content, conditioned by it, in instrumental works, specifically, in piano sonatas, they became a feature of the musical content, immanent for music. This particularly helps to explain, why is it possible to use these principles without song-like intonations, usual for them. By the same token, even in this “isolated” variant they remind of their song origin, so songs and song cycles by F. Schubert become a “program” of his piano sonatas and works in another instrumental genres, in a similar fashion to opera, which has become crucial source for development of classical symphony.

Introduction Such symptoms as hard, complex, bodily or mental feelings, that turn our everyday life into a hell, at first, lead us to a doctor, and then - to a psychotherapist. A sick man is keen to get rid of a symptom. A doctor prescribes medication, that is ought to eliminate a symptom. A psychotherapist searches for a reason of the problem that needs to be removed. There is such an idea that a neurotic symptom, in particular, an anxiety - is a pathological (spare or extra) response of a body. It is generally believed that such anxiety doesn’t have some real, objective reasons and that it is the result of a nervous system disorder, or some disruption of a cognitive sphere etc. Meanwhile, it is known that in the majority of cases, medical examinations of anxious people show that they don’t have any organic damages, including nervous system. It often happens that patients even wish doctors have found at least any pathology and have begun its treatment. And yet - there is no pathology. All examinations indicate a high level of functionality of a body and great performance of the brain's work. Doctors throw their hands up, as they can't cure healthy people. One of my clients told me her story of such medical examinations (which I’ll tell you with her permission). She said that it was more than 10 years ago. So, when she told her doctor all of her symptoms - he seemed very interested in it. He placed a helmet with electrodes on her head and wore some special glasses, when, according to her words, he created some kind of stressful situation for her brain, as she was seeing some flashings of bright pictures in her eyes. She said that he had been bothered with her for quite a long time, and at the end of it he had told her that her brain had been performing the best results in all respects. He noted that he’d rarely got patients with such great health indicators. My client asked the doctor how rare that was. And he answered: “one client in two or three months.” At that moment my client didn’t know whether to be relieved, flattered or sad. But since then, when someone told her that anxiety was a certain sign of mental problems, or problems with the nervous system, or with a body in general, she answered that people who had anxiety usually had already got all the required medical examinations sufficiently, and gave them the advice to go through medical screening by themselves before saying something like that. Therefore, we see a paradoxical situation, when some experts point to a neurotic anxiety as if it is a kind of pathology, in other words - some result of a nervous system disorder. Other specialists in the same situation talk about cognitive impairments. And some, after all the examinations, are ready to send such patients into space Main text I don’t agree with the statement that any neurotic anxiety that happens is excessive and unfounded. It often happens that there is objective, specific and real causes for appearance of anxiety conditions. And these causes require solutions. And it’s not about some organic damages of the brain or nervous system. The precondition that may give a rise to anxiety disorder is the development of such a life story that at some stage becomes too toxic - when, on the one hand, a person interacts with the outside world in a way that destroys his or her personality, and, on the other hand, this person uses repression and accepts such situation as common and normal. Repression - is an essential condition for the development of a neurotic symptom. Sigmund Freud was the first who pointed this out. Repression is such a defense mechanism that helps people separate themselves from some unpleasant feelings of discomfort (pain) while having (external or internal) irritations. It is the situation when, despite the presence of irritations and painful feelings, a person, however, doesn't feel any of it and is not aware of them in his or her conscious mind. Repression creates the situation of so-called emotional anesthesia. As a result, a displacement takes place, so a body starts to signal about the existing toxic life situation via a symptom. Anxiety disorder is usually an appropriate response (symptom) of a healthy body to an unhealthy life situation, which is seen by a person as normal. And it’s common when such a person is surrounded by others (close people), who tend to benefit from such situation, and so they actively maintain this state of affairs, whether it is conscious for them or not. At the beginning of a psychotherapy almost all clients insist that everything is good in their lives, even great, as it is like in everyone else’s life. They say that they have only one problem, which is that goddamn symptom. So they focus all of their attention on that symptom. They are not interested in all the other aspects of their life, and they show their irritation when it comes to talking about it. People want to get rid of it, whatever it takes, but they often tend to keep their lives the way that it was. In such cases a psychotherapist is dealing with the resistance of clients, trying to turn their attention from a symptom to their everyday situation that includes their way of thinking, interactions with themselves and with others and with the external world in order to have the opportunity to see the real problem, to live it through, to rethink and to change the story of their lives. For better understanding about how it works I want to tell you three allegorical tales. The name of the first tale is “A frog in boiling water”. There is one scientific anecdote and an assumption (however, it is noted that such experiments were held in 19 century), that if we put a frog in a pot with warm water and start to slowly heat the water, then this frog get used to the temperature rise and stays in a hot water, the frog doesn’t fight the situation, slowly begins to lose its energy and at the last moment it couldn’t find enough strength and energy to get out of that pot. But if we throw a frog abruptly in hot water - it jumps out very quickly. It is likely that a frog, that is seating in boiling water, will have some responses of the body (symptoms). For example, the temperature of its body will rise, the same as the color of it, etc., that is an absolutely normal body response to the existing situation. But let us keep fantasizing further. Imagine a cartoon where such a frog is the magical cartoon hero, that comes to some magical cartoon doctor, shows its skin, that has changed the color, to the doctor, and asks to change the situation by removing this unpleasant symptom. So the doctor prescribes some medication to return the natural green color of the frog’s skin back. The frog gets back in its hot water. For some period of time this medication helps. But then, after a while, the frog’s body gets over the situation, and the redness of the frog's skin gets back. And the magical cartoon doctor states that the resistance of the body to this medication has increased, and each time prescribes some more and more strong drugs. In this example with the frog it is perfectly clear that the true solution of the problem requires the reduction of the water temperature in that pot. We could propose that magical cartoon frog to think and try to realize that: 1) the water in that pot is hot, and that is the reason why the skin is red; 2) the frog got used to this situation and that is why it is so unnoticeably for this frog; 3) if the temperature of the water in the pot still stay so hot, without any temperature drop, then all the medication works only temporarily; 4) if we lower the temperature in that pot - the redness disappears on its own, automatically and without any medication. Also this cartoon frog, that will go after the doctor to some cartoon physiotherapist, will face the necessity to give itself some answers for such questions as: 1) What is going on? Who has put this frog in that pot? Who is raising the temperature progressively? Who needs it? And what is the purpose or benefit for this person in that? Who benefits? 2) Why did the frog get into the pot? What are the benefits in it for the frog? Or why did the frog agree to that? 3) What does the frog lose when it gets out of this pot? What are the consequences of it for the frog? What does the frog have to face? What are the possible difficulties on the way? Who would be against the changes? With whom the frog may confront? 4) Is the frog ready to take control over its own pot in its own hands and start to regulate the temperature of the water by itself, so to make this temperature comfortable for itself? Is this frog ready to influence by itself on its own living space, to take the responsibility for it to itself? The example “A frog in boiling water” is often used as a metaphorical portrayal of the inability of people to respond (or fight back) to significant changes that slowly happen in their lives. Also this tale shows that a body, while trying to adjust to unfavorable living conditions, will react with a symptom. And it is very important to understand this symptom. Symptom - is the response of a body, it’s a way a body adjusts to some unfriendly environment. Symptom, on the one hand, informs about the existence of a problem, and from the other hand - tries to regulate this problem, at least in some way (like, to remove or reduce), at the level on which it can do it. The process is similar to those when, for example, in a body, while it suffers from some infectious disease, the temperature rises. Thus, on the one hand, the temperature informs about the existence of some infection. On the other hand, the temperature increase creates in a body the situation that is damaging for the infection. So, it would be good to think about in what way does an anxiety symptom help a body that is surrounded by some toxic life situation. And this is a good topic for another article. Here I want to emphasize that all the attempts to remove a symptom without a removal of a problem, without changing the everyday life story, may lead to strengthening of the symptom in the body. Even though the removal of a symptom without elimination of its cause has shown success, it only means that the situation was changed into the condition of asymptomatic existence of a problem. And it is, in its essence, a worse situation. For example, it can cause an occurrence of cancer. The tale “A frog in boiling water” is about the tendency of people to treat a symptom, instead of seeing their real problems, as its cause, and trying to solve it. People don’t want to see their problems, but it doesn’t mean that the problem doesn’t exist. The problem does exist and it continues to destroy a person, unnoticeably for him or her. A person with panic disorder could show us anxiety that is out of control (fear, panic), which, by its essence, seems to exist without any logical reason. Meanwhile the body of such a person could be in such processes that are similar to those that occur in the conditions of some real dangers, when the instinct for self-preservation is triggered and an automatic response of a body to fight or flight implements for its full potential. We can see or feel signs of this response, for example, in cases when some person tries to avoid some real or imaginary danger via attempts to escape (the feeling of fear), or tries to handle the situation by some attempts to fight (the feeling of anger). As I mentioned before, many doctors believe that such fear is pathological, as there is no real reason for such intense anxiety. They may see the cause of the problem in worrisome temper, so they try to remove specifically anxiety rather than help such patients to understand specific reason of their anxiety, they use special psychotherapeutic methods that are designed to help clients to develop logical thinking, so it must help them to realize the groundlessness of their anxiety. In my point of view, such anxiety often has specific, real reasons, when this response of a body, fight or flight, is absolutely appropriate, but not excessive or pathological. Inadequacy, in fact, is in the unconsciousness, but not in the reactions of a body. For a better understanding of the role of anxiety in some toxic environment, that isn’t realized, I want to tell you another allegorical tale called “The wolf and the hare”. Let us imagine that two cages were brought together in one room. The wolf was inside one cage and the hare was in another. The cages were divided by some kind of curtain that makes it impossible for them to see each other. At this point a question arises whether the animals react to each other in some way in such a situation, or not? I think that yes, they will. Since there are a lot of other receptors that participate in the receiving and processing of the sensory information. As well as sight and hearing, we have of course a range of other senses. For example, animals have a strong sense of smell. It is well known that people, along with verbal methods of communicating information, like language and speaking, also have other means of transmitting information - non-verbal, such as tone of voice, intonation, look, gestures, body language, facial expressions etc., that gives us the opportunity to receive additional information from each other. The lie detector works by using this principle: due to detecting non-verbal signals, it distinguishes the level of the accuracy of information that is transmitted. It is assumed, that about 30% of information, that we receive from the environment, comes through words, vision, hearing, touches etc. This is the information that we are aware of in our consciousness, so we could consciously (logically) use it to be guided by. And approximately 70% of everyday information about the reality around us we receive non-verbally, and this information in the majority of cases could remain in us without any recognition. It is the situation when we’ve already known something, and we even have already started to respond to it via our body, but we still don’t know logically and consciously that we know it. We can observe the responses of our own body without understanding what are the reasons for such responses. We can recognize this unconscious information through certain pictures, associations, dreams, or with the help of psychoanalysis. Psychoanalysis is a great tool that can help to recognize the information from the unconscious mind, so that it can be logically processed further on, in other words, a person then receives the opportunity to indicate the real problems and to make right decisions. But let us return to the tale where the hare and the wolf stay in one room and don’t see each other, and, maybe, don’t hear, though - feel. These feelings (in other words - non-verbal information that the hare receives) activate a certain response in the hare’s body. And it reacts properly and adequately to the situation, for instance, the body starts to produce adrenaline and runs the response “fight or flight”. So the hare starts to behave accordingly and we could see the following symptoms: the hare is running around his cage, fussing, having some tremor and an increased heart rate, etc.. And now let us imagine this tale in some cartoon. The hare stays in its house, and the wolf wanders about this house. But the hare doesn’t see the wolf. Though the body of the hare gives some appropriate responses. And then that cartoon hare goes to a cartoon doctor and asks that doctor to give it some pill from its tremor and the increased heart rate. And in general asks to treat in some way this incomprehensible, confusing, totally unreasonable severe anxiety. If we try to replace the situation from this fairy-tale to a life story, we could see that it fits well to the script of interdependent relationships, where there are a couple “a victim and an aggressor”, and where such common for our traditional families’ occurrences as a domestic family violence, psychological and physical abuse take place. Only in 2019 a law was passed that follows the European norms and gives a legislative definition of such concepts as psychological domestic abuse, sexual abuse, physical abuse, bullying, that criminalizes all of these occurrences, establishes the punishment and directly points to people that could be a potential abuser. Among them are: a husband towards his wife, parents towards their children, a wife towards her husband, a superior towards a subordinate, a teacher towards his or her students, children towards each other etc.. When it comes to recognition of something as unacceptable, it seems more easy to put to that category such occurrences as physical and sexual abuse, as we could see here some obvious events. For example, beating or sexual harassment. Our society is ready to respond to these incidents in more or less adequate way, and to recognize them as a crime. But it is harder to deal with the recognition of psychological abuse as an offence. Psychological abuse in our families is common. Psychological abuse occurs through such situations, when one person, while using different psychological manipulations, such as violation of psychological borders, imposition of feeling of guilty or shame, etc., force another person to give up his or her needs and desires, and so in such a way make this person live another’s life. Such actions have an extremely negative effect on the mental health of these people, just as much as physical abuse. It can destroy a person from the inside, ruin self-esteem and a feeling of self-worth, create the situation of absolute dependence such victim from an abuser, including financial dependence etc.. It often happens that psychological abuse takes place against the backdrop of demonstrations of care and love. So you've got this story about the wolf and the hare, that are right next to each other, and the shield between two of them is a repression - a psychological defense mechanism, when a person turns a blind eye to such offences, that take place in his or her own life and towards him or her. And this person considers this as normal, doesn't realize, doesn't have a resource to realize, that it is a crime. Most importantly - doesn’t feel anything, as a repression takes place. But a body responds in a right way - from a certain point of the existence of such a toxic situation the response “fight or flight” is launched in a body at full, in other words - the fear and anxiety with the associated symptoms. The third allegorical tale I called “Defective suit”, which I read in the book of Clarissa Pinkola Estés with the name “Running With the Wolves". “Once one man came to a tailor and started to try on a suit. When he was standing in front of a mirror, he saw that the costume had uneven edges. - Don’t worry, - said the tailor. - If you hold the short edge of the suit by your left hand - nobody notices it. But then the man saw that a lapel of a jacket folded up a little bit. - It's nothing. You only need to turn your head and to nail it by your chin. The customer obeyed, but when he put on trousers, he saw that they were pulling. - All right, so just hold your trousers like this by your right hand - and everything will be fine, - the tailor comforts him. The client agreed with him and took the suit. The next day he put on his new suit and went for a walk, while doing everything exactly in the way that the tailor told him to. He waddled in a park, while holding the lapel by his chin, and holding the short edge of the suit by his left hand, and holding his trousers by his right hand. Two old men, who were playing checkers, left the game and started to watch him. - Oh, God! - said one of them. - Look at that poor cripple. - Oh, yes - the limp - is a disaster. But I'm wondering, where did he get such a nice suit?” Clarissa wrote: “The commentary of the second old man reflects the common response of the society to a woman, who built a great reputation for herself, but turned into a cripple, while trying to save it. “Yes, she is a cripple, but look how great her life is and how lovely she looks.” When the “skin” that we put on ourselves towards society is small, we become cripples, but try to hide it. While fading away, we try to waddle perky, so everyone could see that we are doing really well, everything is great, everything is fine”. As for me, this tale is also about the process of forming a symptom in a situation when one person tries very hard to match to another one, whether it is a husband, a wife or parents. It’s about a situation when such a person always tries to support the other one, while giving up his or her own needs and causing oneself harm in such a way by feeling a tension every day, that becomes an inner normality. And so this person doesn’t give oneself a possibility to relax, to be herself (or himself), to be spontaneous, free. As a result, in this situation the person, who was supported, looks perfect from the outside, but those who tried to match, arises some visible defect, like a limp - a symptom. And so this person lives like a cripple, under everyday stress and tension, trying to handle it, while sacrificing herself (or himself) and trying to maintain this situation, so not to lose the general picture of a beautiful family and to avoid shame. The tailor, who made this defective suit and tells how to wear the suit properly, in order to keep things going as they are going, often is a mother who raised a problematic child and then tells another person how to deal with her child in the right way. It is the situation when a mother-in-law tells her daughter-in-law how to treat her son properly. In other words, how to support him, when to keep silent, to handle, how to fit in, so that her problematic son and this relationship in general looks perfect. Or vice versa, when a mother-in-law tells her son-in-law how to support her problematic daughter, how to fit in etc.. When, for example, a woman acts like this in her marriage and with her husband, with these excessive efforts to fit in - then after a while everybody will talk like: “Look at this lovely man: he lives with his sick wife, and their family seems perfect!”. But when such a woman becomes brave enough to relax and to just let the whole thing go, everybody will see that the relationship in her marriage isn’t perfect, and it is the other one who has problems. Each time when someone tries excessively to match up to another one, while turning oneself in some kind of a cripple, - he or she, on the one hand, supports the comfort of that person, to whom he or she tries to match up, and on the other hand - such a situation always arises in that person such conditions as a continuous tension, anxiety, fear to act spontaneously. A symptom - is like a visible defect, that shows itself through the body (and may look like some kind of injury). It is the result of a hidden inner prison. As a result of evolution, a pain tells us about a problem that is needed to be solved. When we repress our pain we can’t see our needs and our problems at full. And then a body starts to talk to us via a symptom. Psychotherapy aims for providing a movement from a symptom to a resumption of sensitivity to feelings, a resumption of the ability to feel your psychological pain, so you can realize your own toxic story. In this perspective another fairy-tale looks interesting to analyze - it is Andersen's fairytale “Princess and the Pea”. In the tale a prince wanted to find a princess to marry. There was one requirement for women candidates, so the prince could select her among commoner - high level of sensitivity, as the real princess would feel a pea through the mountain of mattresses, and so she could have the ability to feel discomfort, to be in a good contact with her body, to tell about her discomfort without such feeling as shame and guilt, and to refuse that discomfort, so to have the readiness to solve her problems and to demand from others the respect for her needs. It is common for our culture that the expression “a princess on a pea” very often uses for a negative meaning. So people who are in good contact with their body and who can demand comfort for themselves are often called capricious. At the same time the heroes who are ready to suffer and to tolerate their pain, who are able to repress (stop to feel) their pain represents a good example to be followed in our society. So, we may see the next algorithm in cases of various anxiety disorders: the existence of some toxic situation that brings some danger to a person. And we need not to be confused: a danger exists not for a body, but for a personality. A toxic live situation as well as having a panic attack is not a threat for the health of a body (that is what medical examinations show), and vice versa - it’s like every day intensive sport training, that could be good for your health only to some degree. A toxic situation destroys a person as a personality, who longs for one self’s expression; the existence of such a defense mechanism as repression - it’s a life with closed eyes, in pink glasses, when there is inability (or the absence of the desire) to see its own toxic story; 3.the presence of a symptom - a healthy response of a body “fight or flight” to some toxic situation; displacement - it’s replacement of the attention from the situation to a symptom, when a person starts to see and search for the problem in some other place, not where it really is. A symptom takes as some spare, pathological reaction that we need to get rid of. The readiness to fight the symptom arises, and that is the goal of such methods of therapy as pharmacological therapy, CBT and many others; the absence of adequate actions that are directed towards the change of a toxic situation itself. The absence of the readiness to show aggression when it comes to protect its space. All of it is a mechanism of formation of primary anxiety and preparation for launch of secondary anxiety. A complete anxiety disorder is the interaction between a primary and a secondary anxiety.

Background and Objectives Burns is one of the most common and potentially dangerous public health problems. Burn patients' hospitalization facilitates the provision of medical services. However, prolonging the length of hospital stay can not only impose an economic cost, but also cause various infections in patients. Various factors affect patients’ hospitalization length including patients age and gender, burn cause, anatomic place and its severity. Identifying and considering these factors will reduce burn patient’s hospitalization and its consequences. The aim of this study was to evaluate the factors affecting hospitalization length in burn patients admitted to Sina Hospital as burn referral hospital in Northwest of Iran. Material and Methods In this cross-sectional study, the medical records of burn patients who were admitted to Sina Hospital in Tabriz during 2018, were included. Data collection was performed using a goal-based researcher data collection form. The form included patient’s demographics (age, gende, marital status, education level, occupation, comorbidity) and Status of vital signs at admission including respiratory rate, heart rate, body temperature, Glasgow Coma Scale score (less than 12 moderate injuries, 13 and 14 mild injuries, 15 or more normal) and systolic and diastolic blood pressure, burn place, date, cause, TBSA, burn severity, length of stay and outcome. Data were analyzed using Stata 16 software and through quantile regression modeling. Data normality was evaluated using Kolmogorov-Smirnov test, skewness and kurtosis. Due to the skewness of the hospitalization variable distribution (hospitalization length was a non-negative variable with right skew and skewness coefficient of 4.72 and kurtosis coefficient equal to 6.53), to obtain a complete picture of how the conditioned distribution of the response variable changes from variables Independently, Quantile regression was used for modeling with a significance level of P <0.05. Results The total number of hospitalized burn patients was 1586 of whom 998 (62.3%) were male. The mean age of the patients was 25.5 ± 22.9 years. Most of the patients were in age-group 0-5 years. About 22.3% of patients were in Tachypnea situation and 33.3% had low blood pressure. Based on Glasgow score, 0.3% of patients were with moderate and 2.2% with low injury. Only 15.4% of patients were with more than 20% burn in their body. Burn degree III was the most prevalent injury (35.1%). Upper limbs (62.9%) were the most anatomic sections injured in burn. Totally 94 patients (5.9%) were died due to burn injuries. Burns occurred more often in summer (30.5%) and at home (n=1246, 78.6%). The median length of hospitalization was 8 days (95% CI: 7.34-8.57). Single (P = 0.010) and illiterate patients (P = 0.022) had a longer hospitalization length. The lower the Glasgow coma score at admission, resulted in longer hospital stay (P = 0.034). Patients with burn on face (P = 0.037), head and neck (P <0.001) and back of the trunk (P = 0.031) had longer hospital stay, respectively. The higher the percentage of burns, the longer the hospital stay (P <0.001) and the presence of concurrent trauma also increased the length of hospital stay (P <0.001). Conclusion Glasgow coma score, burns on the face, neck and back were identified as effective clinical signs on hospitalization length of stay amongst burn patients. Considering these factors in the triage of burn patients, providing quality treatment and care services to manage these symptoms can reduce the length of hospital stay and ultimately lead to a reduction in social and economic costs for patients and society. Extended Abstract Background and Objectives Burns is one of the most common and potentially dangerous public health problems. Burn patients' hospitalization facilitates the provision of medical services. However, prolonging the length of hospital stay can not only impose an economic cost, but also cause various infections in patients. Various factors affect patients’ hospitalization length including patients age and gender, burn cause, anatomic place and its severity. Identifying and considering these factors will reduce burn patient’s hospitalization and its consequences. The aim of this study was to evaluate the factors affecting hospitalization length in burn patients admitted to Sina Hospital as burn referral hospital in Northwest of Iran. Material and Methods In this cross-sectional study, the medical records of burn patients who were admitted to Sina Hospital in Tabriz during 2018, were included. Data collection was performed using a goal-based researcher data collection form. The form included patient’s demographics (age, gende, marital status, education level, occupation, comorbidity) and Status of vital signs at admission including respiratory rate, heart rate, body temperature, Glasgow Coma Scale score (less than 12 moderate injuries, 13 and 14 mild injuries, 15 or more normal) and systolic and diastolic blood pressure, burn place, date, cause, TBSA, burn severity, length of stay and outcome. Data were analyzed using Stata 16 software and through quantile regression modeling. Data normality was evaluated using Kolmogorov-Smirnov test, skewness and kurtosis. Due to the skewness of the hospitalization variable distribution (hospitalization length was a non-negative variable with right skew and skewness coefficient of 4.72 and kurtosis coefficient equal to 6.53), to obtain a complete picture of how the conditioned distribution of the response variable changes from variables Independently, Quantile regression was used for modeling with a significance level of P <0.05. Results The total number of hospitalized burn patients was 1586 of whom 998 (62.3%) were male. The mean age of the patients was 25.5 ± 22.9 years. Most of the patients were in age-group 0-5 years. About 22.3% of patients were in Tachypnea situation and 33.3% had low blood pressure.Based on Glasgow score, 0.3% of patients were with moderate and 2.2% with low injury. Only 15.4% of patients were with more than 20% burn in their body. Burn degree III was the most prevalent injury (35.1%). Upper limbs (62.9%) were the most anatomic sections injured in burn. Totally 94 patients (5.9%) were died due to burn injuries.Burns occurred more often in summer (30.5%) and at home (n=1246, 78.6%). The median length of hospitalization was 8 days (95% CI: 7.34-8.57). Single (P = 0.010) and illiterate patients (P = 0.022) had a longer hospitalization length. The lower the Glasgow coma score at admission, resulted in longer hospital stay (P = 0.034). Patients with burn on face (P = 0.037), head and neck (P <0.001) and back of the trunk (P = 0.031) had longer hospital stay, respectively. The higher the percentage of burns, the longer the hospital stay (P <0.001) and the presence of concurrent trauma also increased the length of hospital stay (P <0.001). Conclusion Glasgow coma score, burns on the face, neck and back were identified as effective clinical signs on hospitalization length of stay amongst burn patients. Considering these factors in the triage of burn patients, providing quality treatment and care services to manage these symptoms can reduce the length of hospital stay and ultimately lead to a reduction in social and economic costs for patients and society. Practical implications of research Paying attention to the effective symptoms during the stay of burn patients during triage of these patients and providing quality treatment and care services to manage these symptoms can reduce the length of hospital stay and ultimately lead to a reduction in its social and economic costs. For patients and the community. Ethical considerations This research was carried out after the approval of the Ethics Committee of the Vice Chancellor for Research of Tabriz Azad University of Medical Sciences, as a dissertation for general medicine. Data related to patients with burn injuries admitted to Sina Hospital in 1397 were coded in the form of data registration without name and information. Also, all patient information was kept completely confidential and the information obtained from the study was used for research purposes only. Conflict of interest The authors state that there is no conflict of interest in publishing this article. Acknowledgement The present article is taken from the dissertation of General Doctor of Medicine. The authors consider it necessary to express their gratitude to the Vice Chancellor for Research and Technology of Tabriz Azad University of Medical Sciences and the director of Sina Hospital and the people participating in the research.

OBJECTIVES/SPECIFIC AIMS: Stigma has been recognized as a major impediment to accessing mental health care among Vietnamese and Asian Americans (Leong and Lau, 2001; Sadavoy et al., 2004; Wynaden et al., 2005; Fong and Tsuang, 2007). The underutilization of mental health care, and disparities in both access and outcomes have been attributed to a large extent to stigma and cultural characteristics of this population (Wynaden et al., 2005; Jang et al., 2009; Leung et al., 2010; Spencer et al., 2010; Jimenez et al., 2013; Augsberger et al., 2015). People with neurotic or behavioral disorders may be considered “bad” as many Vietnamese people believe it is a consequence of one’s improper behavior in a previous life, for which the person is now being punished (Nguyen, 2003). Mental disorders can also been seen as a sign of weakness, which contributes to ambivalence and avoidance of help-seeking (Fong and Tsuang, 2007). Equally important is the need to protect family reputation; having emotional problems often implies that the person has “bad blood” or is being punished for the sins of his/her ancestors (Herrick and Brown, 1998; Leong and Lau, 2001), which disgraces the entire family (Wynaden et al., 2005). In these cases, public stigma (as opposed to internal stigma) is the primary reason for delays in seeking help (Leong and Lau, 2001). Other research has also highlighted the influences of culture on how a disorder may be labeled in different settings, although the presentation of symptoms might be identical (see Angel and Thoits, 1987). In Vietnamese culture, mental disorders are often labeled điên (literally translated as “madness”). A điên person and his or her family are often severely disgraced; consequently the individuals and their family become reluctant to disclose and seek help for mental health problems for fear of rejection (Sadavoy et al., 2004). Despite the critical role of stigma in accessing mental health care, there has been little work in trying to understand how stigmatizing attitudes towards mental illness among Vietnamese Americans manifest themselves and the influences of acculturation on these attitudes. Some previous work indicated a significant level of mental illness stigma among Vietnamese Americans, and experiences of living in the United States might interact with the way stigma manifests among this population (Do et al., 2014). Stigma is a complex construct that warrants a deeper and more nuanced understanding (Castro et al., 2005). Much of the development of stigma-related concepts was based on the classic work by Goffman (1963); he defined stigma as a process by which an individual internalizes stigmatizing characteristics and develops fears and anxiety about being treated differently from others. Public stigma (defined by Corrigan, 2004) includes the general public’s negative beliefs about specific groups, in this case individuals and families with mental illness concerns, that contribute to discrimination. Public stigma toward mental illness acts not only as a major barrier to care, but can also exacerbate anxiety, depression, and adherence to treatment (Link et al., 1999; Sirey et al., 2001; Britt et al., 2008; Keyes et al., 2010). Link and Phelan (2001) conceptualized public stigma through four major components. The first component, labeling, occurs when people distinguish and label human differences that are socially relevant, for example, skin color. In the second component, stereotyping, cultural beliefs link the labeled persons to undesirable characteristics either in the mind or the body of such persons, for example people who are mentally ill are violent. The third component is separating “us” (the normal people) from “them” (the mentally ill) by the public. Finally, labeled persons experience status loss and discrimination, where they are devalued, rejected and excluded. Link and Phelan (2001) emphasized that stigmatization also depends on access to social, economic, and political power that allows these components to unfold. This study aims to answer the following research questions: (1) how does public stigma related to mental illness manifest among Vietnamese Americans? and (2) in what ways does acculturation influence stigma among this population? We investigate how the 4 components of stigma according to Link and Phelan (2001) operationalized and how they depend on the level of acculturation to the host society. Vietnamese Americans is the key ethnic minority group for this study for several reasons. Vietnamese immigration, which did not start in large numbers until the 1970s, has features that allow for a natural laboratory for comparisons of degree of acculturation. Previous research has shown significant intergenerational differences in the level of acculturation and mental health outcomes (e.g., Shapiro et al., 1999; Chung et al., 2000; Ying and Han, 2007). In this study, we used age group as a proxy indicator of acculturation, assuming that those who were born and raised in the United States (the 18–35 year olds) would be more Americanized than those who were born in Vietnam but spent a significant part of their younger years in the United States (the 36–55 year olds), and those who were born and grew up in Vietnam (the 56–75 year olds) would be most traditional Vietnamese. The language used in focus group discussions (FGDs) reflected some of the acculturation, where all FGDs with the youngest groups were done in English, and all FGDs with the oldest groups were done in Vietnamese. METHODS/STUDY POPULATION: Data were collected through a set of FGDs and key informant interviews (KIIs) with experts to explore the conceptualization and manifestation of mental illness public stigma among Vietnamese Americans in New Orleans. Six FGDs with a total of 51 participants were conducted. Participants were Vietnamese American men and women ages 18–75. Stratification was used to ensure representation in the following age/immigration pattern categories: (1) individuals age 56–75 who were born and grew up in Vietnam and immigrated to the United States after age 35; (2) individuals age 36–55 who were born in Vietnam but spent a significant part of their youth in the United States; and (3) individuals age 18–35 who were born and grew up in the United States. These groups likely represent different levels of acculturation, assuming that people who migrate at a younger age are more likely to assimilate to the host society than those who do at a later age. Separate FGDs were conducted with men and women. Eleven KIIS were conducted with 6 service providers and 5 community and religious leaders. In this analysis, we focused on mental illness public stigma from the FGD participants’ perspectives. FGDs were conducted in either English or Vietnamese, whichever participants felt more comfortable with, using semistructured interview guides. All interviews were audio recorded, transcribed and translated into English if conducted in Vietnamese. Data coding and analysis was done using NVivo version 11 (QSR International, 2015). The analysis process utilized a Consensual Qualitative Research (CQR) approach, a validated and well-established approach to collecting and analyzing qualitative data. CQR involves gathering textual data through semistructured interviews or focus groups, utilizing a data analysis process that fosters multiple perspectives, a consensus process to arrive at judgments about the meaning of data, an auditor to check the work of the research team, and the development of domains, core-ideas, and cross-analysis (Hill et al., 2005). The study was reviewed and approved by Tulane University’s Internal Review Board. RESULTS/ANTICIPATED RESULTS: Components of public stigma related to mental illness. The 4 components of public stigma manifest to different extents within the Vietnamese Americans in New Orleans. Labeling was among the strongest stigma components, while the evidence of the other components was mixed. Across groups of participants, Vietnamese Americans agreed that it was a common belief that people with mental disorders were “crazy,” “acting crazy,” or “madness.” “Not normal,” “sad,” and “depressed” were among other words used to describe the mentally ill. However, there were clear differences between younger and older Vietnamese on how they viewed these conditions. The youngest groups of participants tended to recognize the “craziness” and “madness” as a health condition that one would need to seek help for, whereas the oldest groups often stated that these conditions were short term and likely caused by family or economic problems, such as a divorce, or a bankruptcy. The middle-aged groups were somewhere in between. The evidence supporting the second component, stereotyping, was not strong among Vietnamese Americans. Most FGD participants agreed that although those with mental disorders may act differently, they were not distinguishable. In a few extreme cases, mentally ill individuals were described as petty thefts or being violent towards their family members. Similarly to the lack of strong evidence of stereotyping, there was also no evidence of the public separating the mentally ill (“them”) from “us”. It was nearly uniformly reported that they felt sympathetic to those with mental disorders and their family, and that they all recognized that they needed help, although the type of help was perceived differently across groups. The older participants often saw that emotional and financial support was needed to help individuals and families to pass through a temporary phase, whereas younger participants often reported that professional help was necessary. The last component, status loss and discrimination, had mixed evidence. While nearly no participants reported any explicit discriminatory behaviors observed and practiced towards individuals with mental disorders and their families, words like “discrimination” and “stigma” were used in all FGDs to describe direct social consequences of having a mental disorder. Social exclusion was common. Our older participants said: “They see less of you, when they see a flaw in you they don’t talk to you or care about you. That’s one thing the Vietnamese people are bad at, spreading false rumors and discrimination” (Older women FGD). One’s loss of status seemed certain if their or their loved one’s mental health status was disclosed. Shame, embarrassment, and being “frowned upon” were direct consequences of one’s mental health status disclosure and subsequently gossiped about. Anyone with mental disorders was certain to experience this, and virtually everyone in the community would reportedly do this to such a family. “You get frowned upon. In the Vietnamese culture, that’s [a family identified as one with mental health problems] the big no-no right there. When everybody frowns upon your family and your family name, that’s when it becomes a problem” (Young men FGD). This is tied directly to what our participants described as Vietnamese culture, where pride and family reputation were such a high priority that those with mental disorders needed to go to a great extent to protect—“We all know what saving face means” as reported by our young participants. Even among young participants, despite their awareness of mental illness and the need for professional help, the desire to avoid embarrassment and save face was so strong that one would think twice about seeking help. “No, you just don’t want to get embarrassed. I don’t want to go to the damn doctor and be like ‘Oh yeah, my brother got an issue. You can help him?’ Why would I do that? That’s embarrassing to myself…” (Young men FGD). Our middle-aged participants also reported: “If I go to that clinic [mental health or counseling clinic], I am hoping and praying that I won’t bump into somebody that I know from the community” (Middle-aged women FGD). Vietnamese people were also described as being very competitive among themselves, which led to the fact that if a family was known for having any problem, gossips would start and spread quickly wherever they go, and pretty soon, the family would be looked down by the entire community. “I think for Vietnamese people, they don’t help those that are in need. They know of your situation and laugh about it, see less of you, and distant themselves from you” (Older women FGD). Culture and mental illness stigma, much of the described stigma and discrimination expressed, and consequently the reluctance to seek help, was attributed to the lack of awareness of mental health and of mental health disorders. Many study participants across groups also emphasized a belief that Vietnamese Americans were often known for their perseverance and resilience, overcoming wars and natural disasters on their own. Mental disorders were reportedly seen as conditions that individuals and families needed to overcome on their own, rather than asking for help from outsiders. This aspect of Vietnamese culture is intertwined with the need to protect one’s family’s reputation, being passed on from one generation to the next, reinforcing the beliefs that help for mental disorders should come from within oneself and one’s family only. Consequently persons with mental health problems would be “Keeping it to themselves. Holding it in and believing in the power of their friends” (Middle-aged FGD) instead of seeking help. Another dimension of culture that was apparent from FGDs (as well as KIIs) was the mistrust in Western medicine. Not understanding how counseling or medicines work made one worry about approaching service providers or staying in treatment. The habit of Vietnamese people to only go see a doctor if they are sick with physical symptoms was also a hindrance to acknowledging mental illness and seeking care for it. Challenges, including the lack of vocabulary to express mental illness and symptoms, in the Vietnamese language, exaggerated the problem, even among those who had some understanding of mental disorders. It was said in the young men FGD that: “when you classify depression as an illness, no one wants to be sick,… if you call it an illness, no one wants to have that sort of illness, and it’s not an illness that you can physically see…” (Young men FGD). Another young man summarized so well the influence of culture on mental illness stigma: “Us Southeast Asian, like, from my parents specifically has Vietnam War refugees. I think the reason why they don’t talk about it is because it’s a barrier that they have to overcome themselves, right? As refugees, as people who have been through the war… [omitted]They don’t want to believe that they need help, and so the trauma that they carry when they give birth to us is carried on us as well. But due to the language barrier and also the, like, they say with the whole health care, in Vietnam I know that they don’t really believe in Western and Eurocentric medicine. So, from their understanding of how, like from their experience with colonization or French people, and how medicine works, they don’t believe in it” (Young men FGD). One characteristic of the Vietnamese culture that was also often mentioned by our FGD participants (as well as KIIs) was the lack of sharing and openness between generations, even within a family. Grandparents, parents, and children do not usually share and discuss each other’s problems. Parents and grandparents do not talk about problems because they need to appear strong and good in front of their children; children do not talk about problems because they are supposed to do well in all aspects, particularly in school. The competitiveness of Vietnamese and high expectations of younger generations again come into play here and create a vicious cycle. Young people are expected to do well in school, which put pressure on them and may result in mental health problems, yet, they cannot talk about it with their parents because they are not supposed to feel bad about school, and sharing is not encouraged. The Asian model minority myth and the expectations of parents that their children would do well in school and become doctors and lawyers were cited by many as a cause of mental health problems among young people. “Our parents are refugees, they had nothing and our parents want us to achieve this American Dream…. [omitted] It set expectations and images for us…. It was expected for all the Asians to be in the top 10, and for, like a little quick minute I thought I wasn’t going to make it, I was crying” (Yong men FGD). As a result, the mental health problems get worse. “If you’re feeling bad about something, you don’t feel like you can talk about it with anyone else, especially your family, because it is not something that is encouraged to be talked about anyway, so if you are feeling poorly and you don’t feel like you could talk to anybody, I think that just perpetuates the bad feelings” (Middle-aged women FGD). Acculturation and mental illness stigma Acculturation, the degree of assimilation to the host society, has changed some of the understanding of mental illness and stigmatizing attitudes. Differences across generations expressed in different FGDs indicated differences in perceptions towards mental illness that could be attributed to acculturation. For example, the young generation understood that mental illness was a health problem that was prevalent but less recognized in the Vietnamese community, whereas a prominent theme among the older participants was that mental illness was a temporary condition due to psychological stress, that it was a condition that only Caucasians had. Some of the components of public stigma related to mental illness seemed to vary between generations, for example the youngest participants were less likely to put a label on a person with mental health problems, or to stereotype them, compared to the oldest and middle-aged participants. This was attributed to their education, exposure to the media and information, and to them “being more Americanized.” However, there was no evidence that acculturation played an important role in changing the other components of public stigma, including stereotyping, separating, and status loss and discrimination. For example, the need to protect the family reputation was so important that our young participants shared: “If you damage their image, they will disown you before you damage that image” (Young men FGD). Young people, more likely to recognize mental health problems, were also more likely to share within the family and to seek help, but no more likely than their older counterparts to share outside of the family—“maybe you would go to counseling or go to therapy, but you wouldn’t tell people you’re doing that” (Young women FGD). The youngest participants in our study were facing a dilemma, in which they recognized mental health problems and the need for care, yet were still reluctant to seek care or talk about it publicly because of fears of damaging the family reputation and not living up to the parents’ expectations. Many young participants reported that it actually made it very difficult for them to navigate mental health issues between the 2 cultures, despite the awareness of the resources available. “I think it actually makes it harder. Only because you know to your parents and the culture, and your own people, it’s taboo, and it’s something that you don’t talk about. Just knowing that you have the resources to go seek it… You want advice from your family also, but you can’t connect the appointment to your family because you’re afraid to express that to your parents, you know? So I think that plays a big part, and knowing that you are up and coming, but you don’t want to do something to disappoint your family because they are so traditional” (Young men FGD). Some participants felt more comfortable talking about mental health problems, like depression, if it was their friend who experienced it and confided in them, but they would not necessarily felt open if it was their problem. Subtle cultural differences like this are likely overlooked by Western service providers. One older participant summarized it well “They [the young generation] are more Americanized. They are more open to other things [but] I think that mental health is still a barrier.” DISCUSSION/SIGNIFICANCE OF IMPACT: This study investigated how different components of public stigma related to mental illness manifest among Vietnamese Americans, a major ethnic group in the United States, and how acculturation may influence such stigma. The findings highlighted important components of public stigma, including labeling and status loss, but did not provide strong evidence of the other components within our study population. Strong cultural beliefs underlined the understanding of mental health and mental illness in general, and how people viewed people with mental illness. Several findings have been highlighted in previous studies with Asian immigrants elsewhere; for example, a study from the perspectives of health care providers in Canada found that the unfamiliarity with Western biomedicine and spiritual beliefs and practices of immigrant women interacted with social stigma in preventing immigrants from accessing care (O’Mahony and Donnelly, 2007). Fancher et al. (2010) reported similar findings regarding stigma, traditional beliefs about medicine, and culture among Vietnamese Americans. Acculturation played a role in changing stigmatizing attitudes as evidenced in intergenerational differences. However, being more Americanized did not equate to being more open, having less stigmatizing attitudes, or being more willing to seek care for mental health issues. Consistent with previous studies (Pedersen and Paves, 2014), we still found some level of stigma among young people aged 18–35, although some components were lessened with an increased level of acculturation. There was also a conflict among the younger generation, in which the need for mental health care was recognized but accessing care was no easier for them than for their parent and grandparent generations. The study’s findings are useful to adapt existing instruments to measure stigma to this population. The findings also have important program implications. One, they can be directly translated into basic supports for local primary and behavioral health care providers. Two, they can also be used to guide and inform the development and evaluation of an intervention and an additional study to validate the findings in other immigrant ethnic groups in the United States. Finally, based on results of the study, we can develop a conceptual framework that describes pathways through which social, cultural, and ecological factors can influence stigma and the ways in which stigma acts as a barrier to accessing mental health care among Vietnamese Americans. The guiding framework then can be validated and applied in future programs aimed to improve mental health care utilization among ethnic minorities.

We’ll have trouble now!The Archaeological Society of Jutland was founded on Sunday, 11 March 1951. As with most projects with which P.V Glob was involved, this did not pass off without drama. Museum people and amateur archaeologists in large numbers appeared at the Museum of Natural History in Aarhus, which had placed rooms at our disposal. The notable dentist Holger Friis, the uncrowned king of Hjørring, was present, as was Dr Balslev from Aidt, Mr and Mrs Overgaard from Holstebro Museum, and the temperamental leader of Aalborg Historical Museum, Peter Riismøller, with a number of his disciples. The staff of the newly-founded Prehistoric Museum functioned as the hosts, except that one of them was missing: the instigator of the whole enterprise, Mr Glob. As the time for the meeting approached, a cold sweat broke out on the foreheads of the people present. Finally, just one minute before the meeting was to start, he arrived and mounted the platform. Everything then went as expected. An executive committee was elected after some discussion, laws were passed, and then suddenly Glob vanished again, only to materialise later in the museum, where he confided to us that his family, which included four children, had been enlarged by a daughter.That’s how the society was founded, and there is not much to add about this. However, a few words concerning the background of the society and its place in a larger context may be appropriate. A small piece of museum history is about to be unfolded.The story begins at the National Museum in the years immediately after World War II, at a time when the German occupation and its incidents were still terribly fresh in everyone’s memory. Therkel Mathiassen was managing what was then called the First Department, which covered the prehistoric periods.Although not sparkling with humour, he was a reliable and benevolent person. Number two in the order of precedence was Hans Christian Broholm, a more colourful personality – awesome as he walked down the corridors, with his massive proportions and a voice that sounded like thunder when nothing seemed to be going his way, as quite often seemed to be the case. Glob, a relatively new museum keeper, was also quite loud at times – his hot-blooded artist’s nature manifested itself in peculiar ways, but his straight forward appearance made him popular with both the older and the younger generations. His somewhat younger colleague C.J. Becker was a scholar to his fingertips, and he sometimes acted as a welcome counterbalance to Glob. At the bottom of the hierarchy was the student group, to which I belonged. The older students handled various tasks, including periodic excavations. This was paid work, and although the salary was by no means princely, it did keep us alive. Student grants were non-existent at the time. Four of us made up a team: Olfert Voss, Mogens Ørsnes, Georg Kunwald and myself. Like young people in general, we were highly discontented with the way our profession was being run by its ”ruling” members, and we were full of ideas for improvement, some of which have later been – or are being – introduced.At the top of our wish list was a central register, of which Voss was the strongest advocate. During the well over one hundred years that archaeology had existed as a professional discipline, the number of artefacts had grown to enormous amounts. The picture was even worse if the collections of the provincial museums were taken into consideration. We imagined how it all could be registered in a card index and categorised according to groups to facilitate access to references in any particular situation. Electronic data processing was still unheard of in those days, but since the introduction of computers, such a comprehensive record has become more feasible.We were also sceptical of the excavation techniques used at the time – they were basically adequate, but they badly needed tightening up. As I mentioned before, we were often working in the field, and not just doing minor jobs but also more important tasks, so we had every opportunity to try out our ideas. Kunwald was the driving force in this respect, working with details, using sections – then a novelty – and proceeding as he did with a thoroughness that even his fellow students found a bit exaggerated at times, although we agreed with his principles. Therkel Mathiassen moaned that we youngsters were too expensive, but he put up with our excesses and so must have found us somewhat valuable. Very valuable indeed to everyon e was Ejnar Dyggve’s excavation of the Jelling mounds in the early 1940s. From a Danish point of view, it was way ahead of its time.Therkel Mathiassen justly complained about the economic situation of the National Museum. Following the German occupation, the country was impoverished and very little money was available for archaeological research: the total sum available for the year 1949 was 20,000 DKK, which corresponded to the annual income of a wealthy man, and was of course absolutely inadequate. Of course our small debating society wanted this sum to be increased, and for once we didn’t leave it at the theoretical level.Voss was lucky enough to know a member of the Folketing (parliament), and a party leader at that. He was brought into the picture, and between us we came up with a plan. An article was written – ”Preserve your heritage” (a quotation from Johannes V. Jensen’s Denmark Song) – which was sent to the newspaper Information. It was published, and with a little help on our part the rest of the media, including radio, picked up the story.We informed our superiors only at the last minute, when everything was arranged. They were taken by surprise but played their parts well, as expected, and everything went according to plan. The result was a considerable increase in excavation funds the following year.It should be added that our reform plans included the conduct of exhibitions. We found the traditional way of presenting the artefacts lined up in rows and series dull and outdated. However, we were not able to experiment within this field.Our visions expressed the natural collision with the established ways that comes with every new generation – almost as a law of nature, but most strongly when the time is ripe. And this was just after the war, when communication with foreign colleagues, having been discontinued for some years, was slowly picking up again. The Archaeological Society of Jutland was also a part of all this, so let us turn to what Hans Christian Andersen somewhat provocatively calls the ”main country”.Until 1949, only the University of Copenhagen provided a degree in prehistoric archaeology. However, in this year, the University of Aarhus founded a chair of archaeology, mainly at the instigation of the Lord Mayor, Svend Unmack Larsen, who was very in terested in archaeology. Glob applied for the position and obtained it, which encompassed responsibility for the old Aarhus Museum or, as it was to be renamed, the Prehistoric Museum (now Moesgaard Museum).These were landmark events to Glob – and to me, as it turned out. We had been working together for a number of years on the excavation of Galgebakken (”Callows Hill”) near Slots Bjergby, Glob as the excavation leader, and I as his assistant. He now offered me the job of museum curator at his new institution. This was somewhat surprising as I had not yet finished my education. The idea was that I was to finish my studies in remote Jutland – a plan that had to be given up rather quickly, though, for reasons which I will describe in the following. At the same time, Gunner Lange-Kornbak – also hand-picked from the National Museum – took up his office as a conservation officer.The three of us made up the permanent museum staff, quickly supplemented by Geoffrey Bibby, who turned out to be an invaluable colleague. He was English and had been stationed in the Faeroe Islands during the war, where he learned to speak Danish. After 1945 he worked for some years for an oil company in the Gulf of Persia, but after marrying Vibeke, he settled in her home town of Aarhus. As his academic background had involved prehistoric cultures he wanted to collaborate with the museum, which Glob readily permitted.This small initial flock governed by Glob was not permitted to indulge inidleness. Glob was a dynamic character, full of good and not so good ideas, but also possessing a good grasp of what was actually practicable. The boring but necessary daily work on the home front was not very interesting to him, so he willingly handed it over to others. He hardly noticed the lack of administrative machinery, a prerequisite for any scholarly museum. It was not easy to follow him on his flights of fancy and still build up the necessary support base. However, the fact that he in no way spared himself had an appeasing effect.Provincial museums at that time were of a mixed nature. A few had trained management, and the rest were run by interested locals. This was often excellently done, as in Esbjerg, where the master joiner Niels Thomsen and a staff of volunteers carried out excavations that were as good as professional investigations, and published them in well-written articles. Regrettably, there were also examples of the opposite. A museum curator in Jutland informed me that his predecessor had been an eager excavator but very rarely left any written documentation of his actions. The excavated items were left without labels in the museum store, often wrapped in newspapers. However, these gave a clue as to the time of unearthing, and with a bit of luck a look in the newspaper archive would then reveal where the excavation had taken place. Although somewhat exceptional, this is not the only such case.The Museum of Aarhus definitely belonged among the better ones in this respect. Founded in 1861, it was at first located at the then town hall, together with the local art collection. The rooms here soon became too cramped, and both collections were moved to a new building in the ”Mølleparken” park. There were skilful people here working as managers and assistants, such as Vilhelm Boye, who had received his archaeological training at the National Museum, and later the partners A. Reeh, a barrister, and G.V. Smith, a captain, who shared the honour of a number of skilfully performed excavations. Glob’s predecessor as curator was the librarian Ejler Haugsted, also a competent man of fine achievements. We did not, thus, take over a museum on its last legs. On the other hand, it did not meet the requirements of a modern scholarly museum. We were given the task of turning it into such a museum, as implied by the name change.The goal was to create a museum similar to the National Museum, but without the faults and shortcomings that that museum had developed over a period of time. In this respect our nightly conversations during our years in Copenhagen turned out to be useful, as our talk had focused on these imperfections and how to eradicate them.We now had the opportunity to put our theories into practice. We may not have succeeded in doing so, but two areas were essentially improved:The numerous independent numbering systems, which were familiar to us from the National Museum, were permeating archaeological excavation s not only in the field but also during later work at the museum. As far as possible this was boiled down to a single system, and a new type of report was born. (In this context, a ”report” is the paper following a field investigation, comprising drawings, photos etc. and describing the progress of the work and the observations made.) The instructions then followed by the National Museum staff regarding the conduct of excavations and report writing went back to a 19th-century protocol by the employee G.V. Blom. Although clear and rational – and a vast improvement at the time – this had become outdated. For instance, the excavation of a burial mound now involved not only the middle of the mound, containing the central grave and its surrounding artefacts, but the complete structure. A large number of details that no one had previously paid attention to thus had to be included in the report. It had become a comprehensive and time-consuming work to sum up the desultory notebook records in a clear and understandable description.The instructions resulting from the new approach determined a special records system that made it possible to transcribe the notebook almost directly into a report following the excavation. The transcription thus contained all the relevant information concerning the in vestigation, and included both relics and soil layers, the excavation method and practical matters, although in a random order. The report proper could then bereduced to a short account containing references to the numbers in the transcribed notebook, which gave more detailed information.As can be imagined, the work of reform was not a continuous process. On the contrary, it had to be done in our spare hours, which were few and far between with an employer like Glob. The assignments crowded in, and the large Jutland map that we had purchased was as studded with pins as a hedge hog’s spines. Each pin represented an inuninent survey, and many of these grew into small or large excavations. Glob himself had his lecture duties to perform, and although he by no means exaggerated his concern for the students, he rarely made it further than to the surveys. Bibby and I had to deal with the hard fieldwork. And the society, once it was established, did not make our lives any easier. Kuml demanded articles written at lightning speed. A perusal of my then diary has given me a vivid recollection of this hectic period, in which I had to make use of the evening and night hours, when the museum was quiet and I had a chance to collect my thoughts. Sometimes our faithful supporter, the Lord Mayor, popped in after an evening meeting. He was extremely interested in our problems, which were then solved according to our abilities over a cup of instant coffee.A large archaeological association already existed in Denmark. How ever, Glob found it necessary to establish another one which would be less oppressed by tradition. Det kongelige nordiske Oldsskriftselskab had been funded in 1825 and was still influenced by different peculiarities from back then. Membership was not open to everyone, as applications were subject to recommendation from two existing members and approval by a vote at one of the monthly lecture meetings. Most candidates were of course accepted, but unpopular persons were sometimes rejected. In addition, only men were admitted – women were banned – but after the war a proposal was brought forward to change this absurdity. It was rejected at first, so there was a considerable excitement at the January meeting in 1951, when the proposal was once again placed on the agenda. The poor lecturer (myself) did his best, although he was aware of the fact that just this once it was the present and not the past which was the focus of attention. The result of the voting was not very courteous as there were still many opponents, but the ladies were allowed in, even if they didn’t get the warmest welcome.In Glob’s society there were no such restrictions – everyone was welcome regardless of sex or age. If there was a model for the society, it was the younger and more progressive Norwegian Archaeological Society rather than the Danish one. The main purpose of both societies was to produce an annual publication, and from the start Glob’s Kuml had a closer resemblance to the Norwegian Viking than to the Danish Aarbøger for nordisk Oldkyndighed og Historie. The name of the publication caused careful consideration. For a long time I kept a slip of paper with different proposals, one of which was Kuml, which won after having been approved by the linguist Peter Skautrup.The name alone, however, was not enough, so now the task became to find so mething to fill Kuml with. To this end the finds came in handy, and as for those, Glob must have allied him self with the higher powers, since fortune smiled at him to a considerable extent. Just after entering upon his duties in Aarhus, an archaeological sensation landed at his feet. This happened in May 1950 when I was still living in the capital. A few of us had planned a trip to Aarhus, partly to look at the relics of th e past, and partly to visit our friend, the professor. He greeted us warmly and told us the exciting news that ten iron swords had been found during drainage work in the valley of lllerup Aadal north of the nearby town of Skanderborg. We took the news calmly as Glob rarely understated his affairs, but our scepticism was misplaced. When we visited the meadow the following day and carefully examined the dug-up soil, another sword appeared, as well as several spear and lance heads, and other iron artefacts. What the drainage trench diggers had found was nothing less than a place of sacrifice for war booty, like the four large finds from the 1800s. When I took up my post in Aarhus in September of that year I was granted responsibility for the lllerup excavation, which I worked on during the autumn and the following six summers. Some of my best memories are associated with this job – an interesting and happy time, with cheerful comradeship with a mixed bunch of helpers, who were mainly archaeology students. When we finished in 1956, it was not because the site had been fully investigated, but because the new owner of the bog plot had an aversion to archaeologists and their activities. Nineteen years later, in 1975, the work was resumed, this time under the leadership of Jørgen Ilkjær, and a large amount of weaponry was uncovered. The report from the find is presently being published.At short intervals, the year 1952 brought two finds of great importance: in Februar y the huge vessel from Braa near Horsens, and in April the Grauballe Man. The large Celtic bronze bowl with the bulls’ heads was found disassembled, buried in a hill and covered by a couple of large stones. Thanks to the finder, the farmer Søren Paaske, work was stopped early enough to leave areas untouched for the subsequent examination.The saga of the Grauballe Man, or the part of it that we know, began as a rumour on the 26th of April: a skeleton had been found in a bog near Silkeborg. On the following day, which happened to be a Sunday, Glob went off to have a look at the find. I had other business, but I arrived at the museum in the evening with an acquaintance. In my diary I wrote: ”When we came in we had a slight shock. On the floor was a peat block with a corpse – a proper, well-preserved bog body. Glob brought it. ”We’ll be in trouble now.” And so we were, and Glob was in high spirits. The find created a sensation, which was also thanks to the quick presentation that we mounted. I had purchased a tape recorder, which cost me a packet – not a small handy one like the ones you get nowadays, but a large monstrosity with a steel tape (it was, after all, early days for this device) – and assisted by several experts, we taped a number of short lectures for the benefit of the visitors. People flocked in; the queue meandered from the exhibition room, through the museum halls, and a long way down the street. It took a long wait to get there, but the visitors seemed to enjoy the experience. The bog man lay in his hastily – procured exhibition case, which people circled around while the talking machine repeatedly expressed its words of wisdom – unfortunately with quite a few interruptions as the tape broke and had to be assembled by hand. Luckily, the tape recorders now often used for exhibitions are more dependable than mine.When the waves had died down and the exhibition ended, the experts examined the bog man. He was x-rayed at several points, cut open, given a tooth inspection, even had his fingerprints taken. During the autopsy there was a small mishap, which we kept to ourselves. However, after almost fifty years I must be able to reveal it: Among the organs removed for investigation was the liver, which was supposedly suitable for a C-14 dating – which at the time was a new dating method, introduced to Denmark after the war. The liver was sent to the laboratory in Copenhagen, and from here we received a telephone call a few days later. What had been sent in for examination was not the liver, but the stomach. The unfortunate (and in all other respects highly competent) Aarhus doctor who had performed the dissection was cal1ed in again. During another visit to the bogman’s inner parts he brought out what he believed to be the real liver. None of us were capable of deciding th is question. It was sent to Copenhagen at great speed, and a while later the dating arrived: Roman Iron Age. This result was later revised as the dating method was improved. The Grauballe Man is now thought to have lived before the birth of Christ.The preservation of the Grauballe Man was to be conservation officer Kornbak’s masterpiece. There were no earlier cases available for reference, so he invented a new method, which was very successful. In the first volumes of Kuml, society members read about the exiting history of the bog body and of the glimpses of prehistoric sacrificial customs that this find gave. They also read about the Bahrain expeditions, which Glob initiated and which became the apple of his eye. Bibby played a central role in this, as it was he who – at an evening gathering at Glob’s and Harriet’s home in Risskov – described his stay on the Persian Gulf island and the numerous burial mounds there. Glob made a quick decision (one of his special abilities was to see possibilities that noone else did, and to carry them out successfully to everyone’s surprise) and in December 1952 he and Bibby left for the Gulf, unaware of the fact that they were thereby beginning a series of expeditions which would continue for decades. Again it was Glob’s special genius that was the decisive factor. He very quickly got on friendly terms with the rulers of the small sheikhdoms and interested them in their past. As everyone knows, oil is flowing plentifully in those parts. The rulers were thus financially powerful and some of this wealth was quickly diverted to the expeditions, which probably would not have survived for so long without this assistance. To those of us who took part in them from time to time, the Gulf expeditions were an unforgettable experience, not just because of the interesting work, but even more because of the contact with the local population, which gave us an insight into local manners and customs that helped to explain parts of our own country’s past which might otherwise be difficult to understand. For Glob and the rest of us did not just get close to the elite: in spite of language problems, our Arab workers became our good friends. Things livened up when we occasionally turned up in their palm huts.Still, co-operating with Glob was not always an easy task – the sparks sometimes flew. His talent of initiating things is of course undisputed, as are the lasting results. He was, however, most attractive when he was in luck. Attention normally focused on this magnificent person whose anecdotes were not taken too seriously, but if something went wrong or failed to work out, he could be grossly unreasonable and a little too willing to abdicate responsibility, even when it was in fact his. This might lead to violent arguments, but peace was always restored. In 1954, another museum curator was attached to the museum: Poul Kjærum, who was immediately given the important task of investigating the dolmen settlement near Tustrup on Northern Djursland. This gave important results, such as the discovery of a cult house, which was a new and hitherto unknown Stone Age feature.A task which had long been on our mind s was finally carried out in 1955: constructing a new display of the museum collections. The old exhibitio n type consisted of numerous artefacts lined up in cases, accompaied ony by a brief note of the place where it was found and the type – which was the standard then. This type of exhibition did not give much idea of life in prehistoric times.We wanted to allow the finds to speak for themselves via the way that they were arranged, and with the aid of models, photos and drawings. We couldn’t do without texts, but these could be short, as people would understand more by just looking at the exhibits. Glob was in the Gulf at the time, so Kjærum and I performed the task with little money but with competent practical help from conservator Kornbak. We shared the work, but in fairness I must add that my part, which included the new lllerup find, was more suitable for an untraditional display. In order to illustrate the confusion of the sacrificial site, the numerous bent swords and other weapons were scattered a.long the back wall of the exhibition hall, above a bog land scape painted by Emil Gregersen. A peat column with inlaid slides illustrated the gradual change from prehistoric lake to bog, while a free-standing exhibition case held a horse’s skeleton with a broken skull, accompanied by sacrificial offerings. A model of the Nydam boat with all its oars sticking out hung from the ceiling, as did the fine copy of the Gundestrup vessel, as the Braa vessel had not yet been preserved. The rich pictorial decoration of the vessel’s inner plates was exhibited in its own case underneath. This was an exhibition form that differed considerably from all other Danish exhibitions of the time, and it quickly set a fashion. We awaited Glob’s homecoming with anticipation – if it wasn’t his exhibition it was still made in his spirit. We hoped that he would be surprised – and he was.The museum was thus taking shape. Its few employees included Jytte Ræbild, who held a key position as a secretary, and a growing number of archaeology students who took part in the work in various ways during these first years. Later, the number of employees grew to include the aforementioned excavation pioneer Georg Kunwald, and Hellmuth Andersen and Hans Jørgen Madsen, whose research into the past of Aarhus, and later into Danevirke is known to many, and also the ethnographer Klaus Ferdinand. And now Moesgaard appeared on the horizon. It was of course Glob’s idea to move everything to a manor near Aarhus – he had been fantasising about this from his first Aarhus days, and no one had raised any objections. Now there was a chance of fulfilling the dream, although the actual realisation was still a difficult task.During all this, the Jutland Archaeological Society thrived and attracted more members than expected. Local branches were founded in several towns, summer trips were arranged and a ”Worsaae Medal” was occasionally donated to persons who had deserved it from an archaeological perspective. Kuml came out regularly with contributions from museum people and the like-minded. The publication had a form that appealed to an inner circle of people interested in archaeology. This was the intention, and this is how it should be. But in my opinion this was not quite enough. We also needed a publication that would cater to a wider public and that followed the same basic ideas as the new exhibition.I imagined a booklet, which – without over-popularsing – would address not only the professional and amateur archaeologist but also anyone else interested in the past. The result was Skalk, which (being a branch of the society) published its fir t issue in the spring of 1957. It was a somewhat daring venture, as the financial base was weak and I had no knowledge of how to run a magazine. However, both finances and experience grew with the number of subscribers – and faster than expected, too. Skalk must have met an unsatisfied need, and this we exploited to the best of our ability with various cheap advertisements. The original idea was to deal only with prehistoric and medieval archaeology, but the historians also wanted to contribute, and not just the digging kind. They were given permission, and so the topic of the magazine ended up being Denmark’s past from the time of its first inhabitant s until the times remembered by the oldest of us – with the odd sideways leap to other subjects. It would be impossible to claim that Skalk was at the top of Glob’s wish list, but he liked it and supported the idea in every way. The keeper of national antiquities, Johannes Brøndsted, did the same, and no doubt his unreserved approval of the magazine contributed to its quick growth. Not all authors found it easy to give up technical language and express themselves in everyday Danish, but the new style was quickly accepted. Ofcourse the obligations of the magazine work were also sometimes annoying. One example from the diary: ”S. had promised to write an article, but it was overdue. We agreed to a final deadline and when that was overdue I phoned again and was told that the author had gone to Switzerland. My hair turned grey overnight.” These things happened, but in this particular case there was a happy ending. Another academic promised me three pages about an excavation, but delivered ten. As it happened, I only shortened his production by a third.The 1960s brought great changes. After careful consideration, Glob left us to become the keeper of national antiquities. One important reason for his hesitation was of course Moesgaard, which he missed out on – the transfer was almost settled. This was a great loss to the Aarhus museum and perhaps to Glob, too, as life granted him much greater opportunities for development.” I am not the type to regret things,” he later stated, and hopefully this was true. And I had to choose between the museum and Skalk – the work with the magazine had become too timeconsuming for the two jobs to be combined. Skalk won, and I can truthfully say that I have never looked back. The magazine grew quickly, and happy years followed. My resignation from the museum also meant that Skalk was disengaged from the Jutland Archaeological Society, but a close connection remained with both the museum and the society.What has been described here all happened when the museum world was at the parting of the ways. It was a time of innovation, and it is my opinion that we at the Prehistoric Museum contributed to that change in various ways.The new Museum Act of 1958 gave impetus to the study of the past. The number of archaeology students in creased tremendously, and new techniques brought new possibilities that the discussion club of the 1940s had not even dreamt of, but which have helped to make some of the visions from back then come true. Public in terest in archaeology and history is still avid, although to my regret, the ahistorical 1960s and 1970s did put a damper on it.Glob is greatly missed; not many of his kind are born nowadays. He had, so to say, great virtues and great fault s, but could we have done without either? It is due to him that we have the Jutland Archaeological Society, which has no w existed for half a century. Congr tulat ion s to the Society, from your offspring Skalk.Harald AndersenSkalk MagazineTranslated by Annette Lerche Trolle