Journal articles on the topic 'French State collections'

AbstractIn order to recast scholarly understanding of scientific cosmopolitanism during the French Revolution, this essay examines the stories of the natural-history collections of the Dutch Stadholder and the French naturalist Labillardière that were seized as war booty. The essay contextualizes French and British savants' responses to the seized collections within their respective understandings of the relationship between science and state and of the property rights associated with scientific collections, and definitions of war booty that antedated modern transnational legal conventions. The essay argues that the French and British savants' responses to seized natural-history collections demonstrate no universal approach to their treatment. Nonetheless, it contends that the French and British approaches to these collections reveal the emergence in the 1790s of new forms of scientific nationalism that purported to be cosmopolitan – French scientific universalism and British liberal scientific improvement.

This article seeks to contribute to a revisionist account of the role of the British state and the nation in building the British Museum's early antique collections. Traditionally, there has been a perception that, in contrast especially to France, the British national collections of antiquities were formed primarily by private individuals donating objects, while the state looked on with indifference, or, at best, occasionally bought antiquities on the cheap from enterprising travellers or diplomats. Yet, the scale and quality of the British Museum's collections owe much to the power and reach of the British military and imperial state. The harnessing of political, diplomatic, and military resources to archaeological work, the dovetailing of private and public efforts, and a strong element of international, especially Anglo-French, competition added up to a substantial programme of public patronage. This is easily ignored by approaches that only consider (continental European) ideal types of public patronage, such as Napoleon's Egyptian Commission on the Sciences and Arts. The article sketches the chronological and geographical unfolding of state-supported archaeological activities around the Mediterranean and the Near East, and considers the connections between archaeology and diplomacy, the different modes of collection building, and the origins of debates about preservation and spoliation.

This article describes publications available in French in the collections of the National Library of Uzbekistan named after Alisher Navoi. Information about the author, publications and the state of preservation of French sources is interpreted in terms of periods that briefly describe the culture and history of the Central Asian region. Classical Oriental studies are conducted in France to study Central Asia, as well as scientific and practical expeditions, the results of which are widely commented on in French. In addition to their scientific and spiritual value, these sources have also been identified as playing an important role in the study of our country’s history

Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.

Based on the international colloquium held in Florence in September 1987, which involved more than a hundred British, French, German and Italian historians, Power in Europe? is part of a larger collaborative research project designed to investigate perceptions of power in Western Europe over the period 1938 to 1958. Although collections of this kind are bound to be uneven in quality, most of the contributions to Di Nolfo's book reach a high standard, and it will be an important source of information and ideas for scholars working on Western European history in the 1950s.

La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commissioned, and a library was assembled. From the 1860s the Commission employed photographers on its staff and efforts were made to record those buildings for which the state was responsible. The documentary resources which accumulated became known as the Bibliothèque des Monuments historiques. Recent decades have witnessed the devolution of the management of historical monuments, while the documentary collections are being cared for, exploited, and developed in a wider context, embracing secular, industrial, vernacular, and modern architecture, as well as art, photography itself, and artefacts from everyday life, to provide the broadest possible documentation of the French cultural heritage. A computer system is used, and many photographic images are being transferred to videodisc.

The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the case of thetoi moko, the Maori tattooed head belonging to the collection of the Natural History Museum in Rouen, France, since 1875. The restitution of thetoi mokoto the Papa Museum in Wellington, New Zealand, deliberated by the city of Rouen, was recently banned by the Administrative Tribunal of Rouen, on request of the Ministry of Culture at the end of 2007. The head actually belonged to a municipal museum, which was in fact part of the Musées de France, and therefore it was considered part of a public collection. Accordingly, the 2002 French statute providing for the inalienability of state properties was applicable.

The traditional and fundamental method for states to make revenues is collection of taxes and many countries still have challenges which make them struggle to implement the collection of taxes and fees. Political factors and administrative restrictions should be considered as examples for these challenges. The purpose of research is evaluation of selected European tax systems by statistical data such as tax revenues and unemployment rate due to find out which system is more effective and efficient in tax collection and define insufficiencies and the possible solutions that can increase tax burden and establish desired tax administrations. The performance of tax systems depends on several factors such as the reforms in taxation, structure and development of economy, social and political growth, extent of tax base. Tax revenue is one of important source for government revenue which directly affect the economy of state. The governments have to create the less complicated tax systems which can cause to make competitive location for launching new business and attraction of investments. Because more complicated systems increases the probability of tax evasions, tax avoidance and corruption which lead to lessen the interests for new investments. Modern states need an effective, efficient and optimal management for achieving maximum level in tax compliance because increase of tax revenues can affect and rise in a huge manner the strengthening and establishment of the legitimacy of country. Building the effective system takes time and problems in tax collections, tax avoidance and frauds cause the taxation as a topic to be actual in each decade. The research has both empirical and theoretical sections and the empirical part contains mostly the quantitative analysis.

AbstractThis paper presents the state of research on Hobbes in France these last 7-8 years. First of all, it explains how the generation of forerunners in the 1970s and 1980s has been replaced by the birth of a vigorous French school of Hobbes scholars in the 1990s and then by a new generation of academics during the recent years. The first part of this paper deals with the institutions and the institutional life concerned with Hobbes in France (Centre Hobbes, Groupe Hobbes, conferences, etc.). The second part is devoted to eight recent monographs on the English philosopher. The third one is focused on various collections of papers as well as special issues. The fourth part reckons five recent translations into French of some of Hobbes's works (Elements of Law, Latin Leviathan, Vitae, De cive). The whole gives a complete account of the intense activity of scholars on Hobbes in France today, including works that are about to be published.

Abstract Objective – The Toronto Public Library has been frequently identified as having an exemplary multilingual collection to serve the information needs of the most diverse population in Canada; however, there is no evidence or collection assessment information available in the literature to validate those claims. This research sought to gain an understanding of the current state of their multilingual collection and compare it to the most recent multicultural population demographics. Methods – This was a case study of the Toronto Public Library multilingual collection using data collected from their online public access catalogue in November 2017. Data was collected about all languages available, with English, French, and the 17 most spoken mother tongues explored in more detail. Language results from the Statistics Canada 2016 Census of Population were also collected. Data was used to calculate and compare the English, French, and language collections to the population of reported mother tongues spoken in Toronto. Results – It was found that the Toronto Public Library has items in 307 languages. While the collection comprises many languages, there is far more focus on official language items than any other language compared to the population in terms of number of items and variety of formats. All 17 non-official languages that were studied had fewer items proportionally available in the catalogue than the proportion of speakers with that mother tongue. Conclusion – The high circulation rates of the Toronto Public Library’s multilingual collection indicate that it has had some success in meeting the needs of its community. However, as the largest library system in Canada with a highly regarded multilingual collection and with many resources for collection development, the Toronto Public Library falls short of having a language collection that is proportional to the languages spoken within the community. While it may not be possible to have a multilingual collection that is entirely representative of the community, this study shows that libraries can use census data to monitor population shifts in order to be responsive to the information needs of their changing communities.

The article analyzes the preparation and conduct of reconnaissance operations in the area of the French commune of Aubérive using the example of two regiments of the 3rd Special Infantry Brigade of the Russian Expeditionary Forces in France. The common and unique features of the French front inherent in the activities of the Russian troops are highlighted. The basis of the research is a set of unpublished sources from the collections of the Russian State Military Historical Archive, the Bakhmetyev Archive of Columbia University (USA), the archive of the Russian Cultural Center (USA). The author notes that, despite the inconsistency of the actions of artillery and infantry, the raids were quite well thought out, this allowed not only to carry out a combat mission, but also to save personnel.

For the past thirty years, the history of the nobility has been one of the fields of social history that have mobilized most researchers. This trend is largely due to the interest shown in new family collections, in correspondence and in private writings. We see this abundant mass of publications as being the reflection of the diversity of the nobility. A first block of authors have isolated noble categories: parliamentary nobility, “second” order nobility, poor nobility, etc. A second type of research has focused on personages emblematic of their milieus, and finally, some historians have been interested in comparisons with other European aristocracies. The second section of the article will show how the transformations of the monarchical state engendered mutations in the second order. Finally, it will be shown how scholarship on social changes has more particularly studied differences between town and country, material culture and mobility and noble culture.

The Consulship of Napoleon Bonaparte is often presented as a time of his political triumph as both politician and legislator. However, this very stereotypical assessment requires further clarifications. As the latest research suggests, the whole period between the Brumaire and the proclamation of the Empire was a period of difficult search for new methods of governance under very difficult circumstances. One of the serious problems in the formation of the new borders of Napoleonic France in the early years of the nineteenth century continued to be banditry (brigandage). In a number of regions, this phenomenon had a distinct political colouring. In the French political lexicon of the era, it referred to collective violence of any kind, anti-state actions, as well as various forms of criminal robbery. The situation was most acute in the peripheral regions, particularly in Piedmont. Although the flames of the acute civil conflict of 1799 had subsided here, yet the causes of this mass phenomenon were extremely deep. The author aims to analyse the ways of solving the problem of banditry in the context of the overall Napoleonic policy, to show the role of the French administration and, in particular, of General Jean-Baptiste Jourdan in this process during the formation of new institutions of power in the Consulate period. Drawing on the archival collections of the French Ministries of General Police and Justice, the Piedmont General Administration from the French National Archives, as well as some materials from the archival collections of the French Ministry of Foreign Affairs, he attempts to reconstruct a set of measures to eradicate banditry. The new authorities, and above all the chief administrator of Piedmont, General Jourdan, as well as the prefects and mayors, had to resort both to the tactics of “mobile columns” and extraordinary justice, but also to seek compromise with the rural oligarchy, the parish clergy and the peasant masses in order to maintain the fragile social order. What is also significant is that the experience gained by the French in the fight against banditry in Piedmont was later successfully disseminated to other regions of Italy, and that it was this experience that largely served as the basis for the formation of Napoleon's policy of “cultural imperialism”.

Hundreds of rare Muslim manuscripts written in Arabic, Turkic, Farsi and Slavonic languages are preserved in the Czech, Slovakian, Polish, Belorussian, Lithuanian, and Scandinavian state or private collections. Such collections are still arca incognita for the absolute majority of Muslim scholars from non-European countries. The purpose of this survey is to give elementary information on the location of these Islamic manuscripts in the Baltic and Central European collections and their general contents for historians, archivists and librarians of the Islamic civilisation. This survey is focused on two genres of Muslim literature—the unique kitab and khamails or manuscripts written in the Polish or Belorussian languages using Arabic script, and the diplomatic correspondences between the Islamic states (the Osmanli Sultanate, the Golden Horde and the Crimean Khanate) and the Polish-Lithuanian Commonwealth on the problem of translations of the QurʾĀn into the vernacular languages of the Baltic peoples. This survey has cited useful secondary literature as well as catalagoues of discussed Islamic manuscripts written in the Polish, Byelorussian, Lithuanian, Russian, Czech, Slovakian, German, French, and Swedish languages which guide precisely to the primary sources of Islamic culture in the Baltic lands.

The article offers a substantiated attribution of “Peter I’s half-arshin”, a foursided ruler from the State Hermitage collections (accessory number ТХ-1252). This attribution is grounded in its comparison with similar items from the collections of the Lomonosov Museum (Museum of Anthropology and Ethnography of Russian Academy of Sciences, the Kunstkamera), the History of Sciences Museum in Oxford, and the National Museum of American History. Several written historical sources such as the 17th – early 18th century artillery manuals (M. O. Rodigaevskii’s “Statute of Martial, Cannon, and Other Matters”, T. Brink’s “Description of Artillery…”, and “The newest theory and practice of artillery” by E. Braun) and a reputable publication “The Construction and Principle Uses of Mathematical Instruments”) by a French instrument-maker N. Bion also support the proposed attribution. The erroneous initial attribution is explained by the uniqueness of the item that has no equals: neither in the published catalogues of various collections nor in the electronic Russian State Catalogue of Museum Collections. The paper also reviews the basic principles of making and using this instrument and its significance during the period from the second third of the 16th century through the first half of the 19th century. It was mainly intended for military use. The possibility for calculating the cannon shot range and trajectory, the distance-to-target, the shooting power, and the amount of powder necessary for a particular combat task often, to a large extent, determined the level of artillery development. Therefore, the success of the battles depended on such instruments and on the skills of they use.

Manuscript copies of Haydara Khorezmi's "Gyulshan ul-asror" are kept in many manuscript collections. But only some of them have miniature paintings. A copy in the National Library of Istanbul is the original miniature. Copy in the British Library consists of six miniatures. A copy in the New York public library also has a miniature. And also a copy of miniature in Chester Beatty Library in Dublin. In this state, presented a manuscript of the manuscript produced by Haidar Khorazmi "Gyulshan ul-asrar" in the French National Library. Analytical research was also carried out on the fact that miniatures, various albums were drawn to this work.

This article presents new facts on the biography of Hippolyte Robillard, talented French artist and distinguished photographer. The sources include information from periodicals and art reference books, materials from museum and archival collections. A special role in the study of Robillard's biography is played by his archive, stored in the Russian State Archive of Literature and Art (Moscow), which revealed previously unknown facts about the life and work of the French master. The article examines the little-known period in Robillard's oeuvre in the 1840s–1850s, when he worked first as a lithographer and then as a pastelist. The author introduces previously unknown archival materials related to the activities of the French master's photographic studio and his social activities and analyzes the reasons for its rapid decline and liquidation, and provides arguments in favor of a new estimated date of Robillard's death. The main task of the article is to reconstruct the general direction of the artist's creative path, about which little was known until now. Domestic research on the history of light painting rarely mentions Robillard's name, which seems unfair and can be explained by insufficient study of his life and work. Thus, the relevance of studying the legacy of Robillard, deservedly one of the leading masters of photography of the 1860s, becomes evident.

The article presents the information about the documents on the history of Russia stored at the Humanities Research Center at Texas State University at Austin (USA). The Harry Ransom Center for humanitarian studies owns an extensive collection of the documents received from individuals (free of charge or on a reimbursable basis) in the form of collections, funds, scattered documents, books, art objects from across Europe and America. The archive accepts for keeping not only the documents, but also the works of fund-makers. Visitors to the archive have an opportunity to conduct research in various fields of humanitarian knowledge: from the English dramatic poetry of the 17th century to the works of modern African novelists, from the modern French musical compositions to the Italian poetry of the 13th century. The Humanities Research Center has also collected a set of documents on Russian history, literature, music, and painting. The information on the history of Russia is contained in the diaries, letters, memoirs of Russian emigrants and American citizens. The most extensive part of the collection consists of the letters discussing the organization of political movements in the emigration environment, the issues of everyday life, the matters connected with moving from Europe to the United States. The documentary complex also includes the sketches of theatrical costumes and scenery, music score manuscripts, the photographs of the Russian artists, composers, actors who left Soviet Russia in 1918–1925. The chronological framework of the documentary complex covers the period from the First World War to the beginning of the Thaw period.

The study focuses on the adaptation of a politically engaged dramaturgical work from Bolshevik Russia — Vladimir Kirshon’s and Andrey Uspensky’s play Konstantin Terekhin (Rust) — to the specific requirements of Broadway, the commercial theater of the USA, and the textual changes of the Soviet original associated with it. The basic principles of the Broadway theater creative and organizational model, drastically different from the repertory theater of post-revolutionary Russia, are defined — the primacy of commerce over artistry, the absence of state support and censorship, a respectable audience that does not accept radical political ideas. On the American stage the Soviet play was produced in 1929, with the changed title (Red Rust), and the text subjected to changes and distortions. The paper considers these changes in the context of American socio–economic life of the Red Thirties. The discrepancy between the original dramaturgical material and the specific requirements of the American commercial theater is analyzed. The free handling of the text from Bolshevik Russia in the US theater is due to the absence of copyright regulations between the two countries. The process of exporting the play to the United States — via Paris and London — is being reconstructed. Three sources that have carried out the textual transformation of the Soviet original are characterized: the authors of the French-language adaptation from Russian (Fernand Nozière and Vladimir Bienstock), British translators from French into English (Virginia and Frank Vernon) and Broadway stage director who previously visited Moscow and sought to introduce into the text what, in his opinion, Soviet censorship would not allow (Herbert Biberman). The study is based on the materials from the Beinecke Library of Rare Books and Manuscripts collections (Yale University), as well as documents from the Houghton Library (Harvard University), the New York Public Library for Performing Arts, the Russian State Archive of Literature and Art (Moscow), and the museum of the Mossovet State Academic Theater (Moscow). The study is aimed at expanding the understanding of the stage history of the Russian drama in America.

In the wake of the Second World War, cultural officers from the western Allied powers recovered several million objects plundered by the Nazis – works of art, Judaica, fine furniture, collectible books and archive collections. Recent books and films have popularized the history of the heroic art recovery effort, but less well-known is the story of what happened to objects that were never returned to rightful owners. In France, Belgium and the Netherlands, postwar governments selected the best of the unclaimed objects and distributed them to public museums, ministries, embassies and other state buildings. This public use of recovered art quietly endured until the 1990s, when heightened awareness of Holocaust-era assets led to greater public and press scrutiny and an increase in restitution claims. This article examines the origins of postwar art custodianships in a comparative analysis of French, Belgian and Dutch restitution policies. The comparison reveals national differences in the scope of looting operations and postwar restitution policies, yet the broad contours of each government’s approach to ownerless art are remarkably similar. In all three cases the custodianships continued the long-term dispossession of Jewish owners wrought by the Nazis and their collaborators.

The article considers the Franco-Russian/French-Soviet cultural dialogue in the period between the conclusion of the Franco-Russian alliance in 1891 and the conclusion of the mutual assistance pact in 1935. Based on the sources involved in the study from the collections of the Russian State Archive of Literature and Art and domestic and foreign historiography, the authors traced the development of cultural contacts between France and Russia in this period. Using the example of contacts in the field of literature, fine arts, theater and science, the authors conclude that the cultural dialogue between France and Russia, despite political differences, not only persisted, but also actively developed, which emphasizes the importance of dialogue for cultural figures and intellectuals. between these countries.

The article is concerned with the history of organization and transportation of the first two Czechoslovak echelons from Russia to France. It is aimed at tracing the idea of sending of a part of Czech and Slovak prisoners of war to the Western front. This intention was for the first time expressed by leaders of the Czechoslovak National Council founded in Paris in February 1916. This decision appeared in connection with the shortage of soldiers in the French army and of workers in the war industry of the Third Republic. In this respect, the research touches upon the basic aspects of the negotiations conducted by J. Dürich, M. R. Štefánik and T. G. Masaryk with the Russian governmental and military institutions. The article also dwells on the preparation of departure of these Czechoslovak units by the northern route - via Arkhangelsk and Murmansk and the cooperation between the Branch of the Czechoslovak National Council and the French military missions in Russia in supplying for the volunteers. The article is based on the documents from the collections of the Archive of Foreign Policy of the Russian Empire, Russian State Historical Archive, Military Central Archive of Czech Republic and published materials.

In 1842 verscheen Poëtische luimen, de vierde poëziebundel van de Antwerpse dichter Theodoor Van Ryswyck (1811-1849). De bundel bevat een veertigtal dichtstukken van uiteenlopende aard (komisch, poëticaal-literair, politiek of sociaal geëngageerd), waaronder ‘Het apenspel’. In dit gedicht klaagt Van Ryswyck het kopieergedrag aan van de Belgen ten aanzien van de Franse cultuur en gewoonten; de Belgen apen de Fransen op velerlei gebied na. Om dit probleem aan de kaak stellen, maakt Van Ryswyck gebruik van Franse woorden en van een Frans motto. ‘Het apenspel’ is zowel inhoudelijk als formeel exemplarisch voor de paradoxale omgang met de Franse taal en cultuur bij Vlaamsgezinden in de jonge Belgische natiestaat: de Belgen kopiëren gedrag, zeden, gewoonten en literatuur van een natie die ze zelf verachten.Dit artikel onderzoekt de dubieuze relatie met de Franse taal en cultuur aan de hand van het poëtische oeuvre van Theodoor Van Ryswyck. De functie van de Franse taal en literatuur in Van Ryswycks poëzie wordt bestudeerd; zowel woordenschat, motto’s als melodieaanduidingen komen daarbij aan bod. Er worden verschillende dichtbundels van Van Ryswyck aangehaald om zo een representatief beeld te schetsen van de aanwezigheid van de Franse taal en letterkunde in Van Ryswycks oeuvre. Deze tekstuele functieanalyse zal leiden tot een interpretatie van de paradoxale relatie met de Franse taal en cultuur in de vroegnegentiende-eeuwse, Vlaams-Belgische letterkunde.________‘The Ape Game’: The French paradox in the Flemish-Belgian literature of the early nineteenth century 1842 saw the publication of Poëtische luimen (Poetical whims), the fourth collection of poems by the Antwerp poet Theodoor Van Ryswyck (1811-1849). The volume consists of around forty poems of varying genres (comical, poetical-literary, politically or socially committed) including ‘Het Apenspel’ (the ‘Ape Game’). In this poem Van Ryswyck denounces the copycat behaviour of the Belgians with respect to French culture and customs; the Belgians imitate the French in many areas. In order to denounce this problem, Van Ryswyck uses French words and a French motto. ‘The Ape Game” exemplifies in form and content the paradoxical way in which the French language and culture is dealt with by the supporters of the Flemish Movement in the young Belgian nation state: the Belgians copy behaviour, morals, customs and literature of a nation, which they despise themselves.This article researches the dubious relationship with the French language and culture based on the poetical work of Theodoor Van Ryswyck. It studies the function of the French language and literature in Van Ryswyck’s poetry by reviewing his use of vocabulary, mottos and indications of tunes. Various collections of poems by Van Ryswyck are quoted in order to present a representative picture of the presence of French language and literature in the literary work of Van Ryswick. This textual functional analysis is the basis for an interpretation of the paradoxical relation with the French language and culture in the early nineteenth century Flemish Belgian literature.

The attempt to found a museum in Geneva faced many challenges, but the nature of the city also provided some unusual opportunities. Against a background of the French Revolution, political upheaval, war and the creation of a new Swiss state, a few members of the academic and scientific community, led by Henri Boissier and Augustin-Pyramus de Candolle, created an institution in 1818 that was to become famous. Harnessing the patriotism of the population, the presence of eminent scientists, the interest of wealthy patrons, and local and international networks, they began to build a collection. The aim was to establish an educational resource, both for the formal teaching at the Académie de Genève and for public instruction. To attract the public, the donation of spectacular objects was of great help, and many individuals and institutions gave specimens in an early form of crowdsourcing. The academic ambitions required a more systematic effort and detailed collection data to augment the value of the specimens. To achieve this, the friendship and kinship networks of Geneva were brought into play; a comparison of the letters from the museum administration preserved by Léonard Revilliod (1786–1867) and entries in the museum's acquisition register provides a case study of how this interaction worked in practice.

There is a library of Soviet scientists Valery Nikolaevich Chernetsov (1905-1970) and Stanislava-Wanda Iosifovna Moshinskaya (1917-1980) in the collection of Tomsk State University Research Library. They have gathered library numbered more than 2000 volumes during their life. It includes various brochures, magazines, prints of articles, abstracts of theses and separate fundamental researches of XVIII-XX centuries on archeology, ethnography, linguistics, folklore studies, history, arts of East Europe, the Urals and Siberia in Russian, English, French, Hungarian, Serbian and Swedish languages. It was an operating library of scientists, which obtains traces of their work such as notes on book margins, sheets with records and photos between pages. Undoubted interest are autographs on books and brochures in studying both reading and communication circles of the Soviet scientists-humanists. The article considers the problem of this library formation. Dedicatory inscriptions on books, abstracts and prints of articles, as well as Valery Nikolaevich's autographs help to solve it. They became an initial cause of this investigation. As the scholars’ field of interests and research activity has been related to studying West Siberia, a considerable part of monographs, paper collections, magazines and prints of articles is devoted to this region. Their library is demanded by researchers, students and teachers of Tomsk State University historical and geographical faculties, as well as archeologists. Based on V. N. Chernetsov and V. I. Moshinskaya’s collection stored in Tomsk State University Library it is possible to track not only the process of its formation, but also to observe the ways of creating personal interrelations of scientists from different corners of the Soviet Union and other countries.

Abstract Introduction: Heritage in the Revolutionary EraThis article serves as an introduction to the central theme of this special issue of Tijdschrift voor Geschiedenis: the way local, regional, and national authorities dealt with heritage in and after the Revolutionary Era. It argues that a focus on objects, collections, and archives in the Batavian-French period and the early years of the United Kingdom of the Netherlands can offer a new perspective on the Dutch Revolution and the transition from the Old Regime to the modern nation state. As the different case studies in this special issue show, the meaning and ownership of objects and archives were often highly contested. By studying the history of these historic objectives and the discussions around them the different contributions to this issue not only highlight the symbolic importance of heritage in the Revolutionary Era, but also the role of continuity and memory in the context of a rapidly changing social and political environment.

Many French museums keep in their reserves a great number of mummified human remains. Beyond any ethical or deontological issues, they constitute an important part of our archaeological and historical heritage. Their dating is often inexact and imprecise, but nevertheless this parameter is very interesting, especially if correlated or associated with other analytical or typological data, e.g. the process of mummification. The present study has been carried out in the context of a multidisciplinary scientific program on a set of Coptic mummies found at the site of Antinoe (Egypt), deposited in the Louvre Museum or sent by the state to various other French museums. To minimize the sample size, we have developed a new method for the pretreatment of hair samples before accelerator mass spectrometry (AMS) radiocarbon dating. Thus, we have taken samples from ≃30 mummies, distributed in 8 museums around France, and also from different textiles or plants near or on the bodies. The results and conclusions show the importance of dating mummies in a museum context. For example, 14C dates permit the exclusion of the assumed relationship of a woman with a child. Similarly, a hair sample from the head of a mummy presents a very different 14C date from that of the hair across her chest. The results show that these hairs came from another mummy and were probably placed there intentionally by the people in charge of the collections.

AbstractThis article asks a simple question that nevertheless has broad implications for historians of premodern continental Europe: What did notaries do? It answers it by applying descriptive statistics, principal component analysis, and clustering techniques to the typological distribution of all deeds preserved in the notarial collections of six French and Italian cities—Paris, Toulouse, Mende, Turin, Florence, and Livorno—for the year 1751, as well as smaller datasets for other dates and locations. The results of this analysis are surprising. In spite of a high degree of consistency in the notarial profession and terminology (a trait that facilitates our comparisons), the notarial style of each city varied greatly. Variations within a single state were sometimes greater than those across state borders. Both supply and demand of notarial services differed from city to city. Overall, our conclusions are as important as the methodology that we adopt to reach them. Our aim is to offer a replicable analysis that puts quantitative methods in the service not only of the study of a source (notarial records) that is widespread across late medieval and early modern continental Europe and its overseas empires but also of a renewed comparative social history that does not shy away from the heterogeneity of primary sources.

The Russian State Library holds one of the largest collections of Russian posters. Film posters from the time before the cinematography nationalization in 1919 are presented there in more than 250 sheets. Most of them advertise Russian films, more than a third — foreign ones, 25 sheets — documentary cinematography and newsreels of the Russian branch of the French firm “Pathé Brothers”.Recently, there has been a growing researchers’ interest in this period. Active popularization is being carried out by holding exhibitions and publishing catalogs of the largest collections, this phenomenon is discussed in detail at the beginning of the article.As well as cinematography, a film poster is a synthetic work. It represents a piece of graphic art, which is a commercial advertisement for another type of art. This research is aimed at studying film posters as a historical source that can tell us a lot: about characteristic social trends, about filmmaking as a process and about films themselves, about tendencies in the visual arts, about advertising of that period in general and about itself as a new type of advertising in particular.The article shows the history of the film poster formation as a product of commercial advertising and its subsequent development into a separate type of spectacular poster. There is analyzed its potential as a source on the history of cinema. In conclusion, the film posters are presented as a reflection of the era and society, which reacts to fundamental changes in the country.

The article considers new trends in the development of a museum as a general cultural institution at the present stage. The author analyses museum policy, paying special attention to such important aspects as the institution of curatorship, the formation of museum branches and the specifics of new audiences. A temporary guest curator is one of the aspects of global museum policy. Curatorship as one of the components of museum policy is illustrated in the article with an example of the well-known project of the§ Pushkin State Museum of Fine Arts, "There are Strange Encounters...", created by French curator Jean Hubert Martin. According to the author, the imbalance between the main exposition and temporary exhibition projects is another problem of a modern museum. At the present stage in museum practice, the importance of exhibitions, the number of which is no longer in equilibrium with the main exposition, is increasing. Museums begin to accumulate the functions of galleries. A modern museum is an actively developing institution, and one of the trends in modern museum policy, reflecting the specifics of the globalisation of the cultural space, is the creation of museum branches. By analysing the specifics of museum branches, the author examines in particular the Louvre branch in Abu Dhabi, which opened in 2017 and which reflects some of the general trends of modern museums - nomadic expositions, the absence of their own collections, the creation of outstanding architecture and a specific reaction to the manifestation of the museum policy of society and the state. The article also highlights the issue of the dialogue between a museum and museum audience.

AbstractIn the late eighteenth century, the Ecole vétérinaire d'Alfort was renowned for its innovative veterinary education and for having one of the largest natural history and anatomy collections in France. Yet aside from a recent interest in the works of one particular anatomist, the school's history has been mostly ignored. I examine here the fame of the school in eighteenth-century travel literature, the historic connection between veterinary science and natural history, and the relationship between the school's hospital and its esteemed cabinet. Using the correspondence papers of veterinary administrators, state representatives and competing scientific institutions during the French Revolution, I argue that resource constraints and the management of anatomical and natural history specimens produced new disciplinary boundaries between natural history, veterinary medicine and human medicine, while reinforcing geographic divisions between the local and the foreign in the study of non-human animals. This paper reconstructs theAncien Régimereasoning that veterinary students would benefit from a global perspective on animality, and the Revolutionary government's rejection of that premise. Under republicanism, veterinary medicine became domestic.

Abstract The article is dedicated to objects in precious metal made after Viktor Vasnetsov’s designs at the turn of the twentieth century. It discusses several creations known to be by Vasnetsov, and others which are likely to be attributable to him. The collaboration between Vasnetsov and Russian silversmiths such as Postnikov, Ovchinnikov, and Fabergé is analyzed on the basis of letters preserved in the collections of the State Tretyakov Gallery and the Viktor Vasnetsov Museum in Moscow, and newspaper reports of the period. The following artworks are discussed in detail, with special attention paid to the history of their creation: two presentational dishes of 1896, one for the Coronation of Emperor Nicholas II and one for the “All-Russian Industrial and Art Exhibition” of Nizhnii Novgorod, the khorugv (religious banner) for the coffin of Emperor Alexander III, the presentational dish of 1902 for French President Emile Loubet, the bronze and enamel iconostasis for the Cathedral of St. George in the town of Gus-Khrustalnyi, and the so-called “Ivan Kalita” bowl.

The Central Scientific Library of the Irkutsk Scientific Center SB RAS has an extensive collection of literature on various topics of scientific research of academic institutions of Irkutsk and the Irkutsk region. This library is the successor of the Library of the East Siberian Branch of the USSR Academy of Sciences. With the organization of the Branch its own scientific library was being created. Acquisitions to the library stocks were carried out by its first head A. S. Chumicheva.The first books of the library were books from the exchange stocks of the Library of the Academy of Sciences of the USSR (Leningrad), special libraries’ sector of the Academy of Sciences of the USSR (Moscow); books from other institutions’ libraries all over the country; trophy books from Germany; books from personal libraries of scientists, rare book stores; since 1958 books began to come to hand from the State Public Scientific and Technological Library of the Siberian Branch of the USSR Academy of Sciences (Novosibirsk). The first library accumulations were the source of material that Russian science had in the period of its making on the Irkutsk soil, and an especially stored part of the library stock. There is a currently increasing interest of specialists in rare books’ collections organization, storage and use.A particularly valuable publication is the book, dated 1676, the life-time publication of the French geographer Pierre Duval (1618–1683).In 2019 its ex-libris was studied. They managed to determine the owner of the book and the history of the library. The ex-libris is heraldic, coat of arms belongs to Franciszek Velepolsky (1732–1809), and the book is from the Pinchuv Majorata library.In the library collections there are publications by prominent domestic and foreign scientists of the XIX–XX centuries, including Nobel laureates; books from personal libraries with notes of owners; autographed books, books with dedicatory inscriptions, bookplates. Works of scientific organizations of the XIX–XX centuries, reports of expeditions, and works of scientists about Siberia are of interest.Most of academic journals are presented starting since the first years of their publication.The collection of rare books is being replenished thanks to readers’ donations.

The French museum world is dominated by large public institution. The cradle of public museology, France boasts a long-standing tradition of central management in this domain, whose continuation can be found in the current legislative solutions (Act of 4 January 2002) organizing the system of museum activity, their approval, and financing modes. It is all based on the musée de France status that can be granted to institutions owned either by the state or to any other legal entity under public law or legal entity under private law engaged in a non-profit activity. The latter, belonging to associations and foundations, or run by them, in order to win the state’s recognition and support, have to comply with specific requirements defined in particular with respect to conservation and scientific elaboration of the collections, as well as to making them available for public viewing. What dominates among ‘private’ museums are institutions of the public benefit organization status, whose model was shaped in the 19th century, e.g. the Paris Union Centrale des Arts Décoratifs or Cinémathèque Française, to a substantial degree financed with public resources. Some of them, e.g. ecomuseums and industrial museums in Mulhouse, are almost self-sufficient financially. Another form of a ‘private’ museum is a foundation set up by a company/ concern or artists and patrons. The latter group includes institutions that are owned by e.g. Institut de France in Paris, Musée Calvet in Avignon, or Fondation Maeght in Saint-Paul-de-Vence, as well as first of all those involved in mounting big Paris exhibitions, foundations – museums of modern art: Fondation Cartier, Fondation Louis Vuitton, or Collection Pinault which is currently being established. Thanks to their spectacular architectural settings, aggressive publicity policy, and astounding turn-out successes, these new private museums are substantially transforming the artistic stage in France.

AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and the changes these underwent between 1795 and 1816. Royal decrees and other documents of the period 1814- 16 in particular giae a clearer picture of whal look place. 0n 18 January 1795 William V (Fig. 2) left the Netherlands and fled to England. On 22 January the Dutch Republic was occupied by French armies. Since France had declared war on the stadholder, the ownership of all his propergy in the Netherlands, passed to France, in accordance with the laws of war of the time. His famous art collections on the Builerth of in. The Hague were taken to Paris, but the remaining art objects, distributed over his various houses, remained in the Netherlands. On 16 May 1795 the French concluded a treaty with the Batavian Republic, recognizing it as an independent power. All the properties of William v in the Netehrlands but not those taken to France, were made over to the Republic (Note 14), which proceeded to sell objects from the collections, at least seven sales taking place until 1798 (Note 15). A plan was then evolved to bring the remaining treasures together in a museum in emulation of the French. On the initiative of J. A. Gogel, the Nationale Konst-Galerij', the first national museum in the .Netherlands, was estahlished in The Hague and opened to the public on ,31 May 1800. Nothing was ever sold from lhe former stadholder's library and in 1798 a Nationale Bibliotheek was founded as well. In 1796, quite soon after the French had carried off the Stadholder, possessions to Paris or made them over to the Batavian Republic, indemnification was already mentioned (Note 19). However, only in the Trealy of Amiens of 180 and a subaequent agreement, between France ararl Prussia of 1 802, in which the Prince of Orarage renounced his and his heirs' rights in the Netherlands, did Prussia provide a certain compensation in the form of l.artds in Weslphalia and Swabia (Note 24) - William v left the management of these areas to the hereditary prince , who had already been involved in the problems oncerning his father's former possessions. In 1804 the Balavian Republic offered a sum of five million guilders 10 plenipotentiaries of the prince as compensation for the sequestrated titles and goods, including furniture, paintings, books and rarities'. This was accepted (Notes 27, 28), but the agreement was never carried out as the Batavian Republic failed to ratify the payment. In the meantime the Nationale Bibliolkeek and the Nationale Konst-Galerij had begun to develop, albeit at first on a small scale. The advent of Louis Napoleon as King of Hollarad in 1806 brought great changes. He made a start on a structured art policy. In 1806 the library, now called `Royal', was moved to the Mauritshuis and in 1808 the collectiorts in The Hague were transferred to Amsterdam, where a Koninklijk Museum was founded, which was housed in the former town hall. This collection was subsequertly to remain in Amsterdam, forming the nucleus of the later Rijksmuseum. The library too was intended to be transferred to Amsterdam, but this never happened and it remained in the Mauritshuis until 1819. Both institutions underwent a great expansion in the period 1806-10, the library's holdings increasing from around 10,000 to over 45,000 books and objects, while the museum acquired a number of paintings, the most important being Rembrandt's Night Watch and Syndics, which were placed in the new museum by the City of Amsterdam in 1808 (Note 44). In 1810 the Netherlands was incorporated into France. In the art field there was now a complete standstill and in 1812 books and in particular prints (around 11,000 of them) were again taken from The Hague to Paris. In November 1813 the French dominion was ended and on 2 December the hereditary prince, William Frederick, was declared sovereign ruler. He was inaugurated as constitutional monarch on 30 March 1814. On January 3rd the provisional council of The Hague had already declared that the city was in (unlawful' possession of a library, a collection of paintings, prints and other objects of art and science and requested the king tot take them back. The war was over and what had been confiscated from William under the laws of war could now be given back, but this never happened. By Royal Decree of 14 January 1814 Mr. ( later Baron) A. J. C. Lampsins (Fig. I ) was commissioned to come to an understanding with the burgomaster of The Hague over this transfer, to bring out a report on the condition of the objects and to formulate a proposal on the measures to be taken (Note 48). On 17 January Lampsins submitted a memorandum on the taking over of the Library as the private property of His Royal Highness the Sovereign of the United Netherlartds'. Although Lampsins was granted the right to bear the title 'Interim Director of the Royal Library' by a Royal Decree of 9 February 1814, William I did not propose to pay The costs himself ; they were to be carried by the Home Office (Note 52). Thus he left the question of ownership undecided. On 18 April Lampsins brought out a detailed report on all the measures to be taken (Appendix IIa ) . His suggestion was that the objects, formerly belonging to the stadholder should be removed from the former royal museum, now the Rijksmuseum, in Amsterdam and to return the 'Library', as the collectiort of books, paintings and prints in The Hague was called, to the place where they had been in 1795. Once again the king's reaction was not very clear. Among other things, he said that he wanted to wait until it was known how extensive the restitution of objects from Paris would be and to consider in zvhich scholarly context the collections would best, fit (Note 54) . While the ownership of the former collections of Prince William I was thus left undecided, a ruling had already been enacted in respect of the immovable property. By the Constitution of 1814, which came into effect on 30 March, the king was granted a high income, partly to make up for the losses he had sulfered. A Royal Decree of 22 January 1815 does, however, imply that William had renounced the right to his, father's collections, for he let it be known that he had not only accepted the situation that had developed in the Netherlands since 1795, but also wished it to be continued (Note 62). The restitution of the collections carried off to France could only be considered in its entirety after the defeat of Napoleon at the Battle of Waterloo on 18 June 1815- This was no simple matter, but in the end most, though not all, of the former possessions of William V were returned to the Netherlands. What was not or could not be recovered then (inc.uding 66 paintings, for example) is still in France today (Note 71)- On 20 November 1815 127 paintings, including Paulus Potter's Young Bull (Fig. 15), made a ceremonial entry into The Hague. But on 6 October, before anything had actually been returned, it had already been stipulated by Royal Decree that the control of the objects would hence forlh be in the hands of the State (Note 72). Thus William I no longer regarded his father's collections as the private property of the House of Orange, but he did retain the right to decide on the fulure destiny of the... painting.s and objects of art and science'. For the time being the paintings were replaced in the Gallery on the Buitenhof, from which they had been removed in 1795 (Note 73). In November 1815 the natural history collection was made the property of Leiden University (Note 74), becoming the basis for the Rijksmuseum voor Natuurlijke Historie, The print collection, part of the Royal Library in The Hague, was exchanged in May 1816 for the national collectiort of coins and medals, part of the Rijksmuseum. As of 1 Jufy 1816 directors were appointed for four different institutions in The Hague, the Koninklijke Bibliotheek (with the Koninklijk Penningkabinet ) , the Koninklijk Kabinet van Schilderijen and the Yoninklijk Kabinet van Zeldzaamheden (Note 80) . From that time these institutions led independenl lives. The king continued to lake a keen interest in them and not merely in respect of collecting Their accommodation in The Hague was already too cramped in 1816. By a Royal Decree of 18 May 1819 the Hotel Huguetan, the former palace of the. crown prince on Lange Voorhout, was earmarked for the Koninklijke Bibliotheek and the Koninklijk Penningkabinet (Note 87) . while at the king's behest the Mauritshuis, which had been rented up to then, was bought by the State on 27 March 1820 and on IO July allotted to the Koninklijk Kabinet van Schilderijen and the Koninklijk Kabinet van Zeldzaamheden (Note 88). Only the Koninklijk Kabinet van Schilderijen is still in the place assigned to it by William and the collection has meanwhile become so identified with its home that it is generally known as the Mauritshui.s'. William i's most important gift was made in July 1816,just after the foundation of the four royal institutions, when he had deposited most of the objects that his father had taken first to England and later to Oranienstein in the Koninklijk Kabinet van Zeldzaamheden. The rarities (Fig. 17), curios (Fig. 18) and paintings (Fig. 19), remained there (Note 84), while the other art objects were sorted and divided between the Koninklijke Bibliotheek (the manuscripts and books) and the koninklijk Penningkabinet (the cameos and gems) (Note 85). In 1819 and 182 the king also gave the Koninklijke Bibliotheek an important part of the Nassau Library from the castle at Dillenburg. Clearly he is one of the European monarchs who in the second half of the 18th and the 19th century made their collectiorts accessible to the public, and thus laid the foundatinns of many of today's museums. But William 1 also made purchases on behalf of the institutions he had created. For the Koninklijke Bibliotheek, for example, he had the 'Tweede Historiebijbel', made in Utrecht around 1430, bought in Louvain in 1829 for 1, 134 guilders (Pigs.30,3 I, Note 92). For the Koninkijk Penningkabinet he bought a collection of 62 gems and four cameos , for ,50,000 guilders in 1819. This had belonged to the philosopher Frans Hemsterhuis, the keeper of his father's cabinet of antiquities (Note 95) . The most spectacular acquisition. for the Penninukabinet., however, was a cameo carved in onyx, a late Roman work with the Triumph of Claudius, which the king bought in 1823 for 50,000 guilders, an enormous sum in those days. The Koninklijk Kabinet van Zeldzaamhedert also received princely gifts. In 1821- the so-called doll's house of Tzar Peter was bought out of the king's special funds for 2.800 guilders (Figs.33, 34, ,Note 97) , while even in 1838, when no more money was available for art, unnecessary expenditure on luxury' the Von Siebold ethnographical collection was bought at the king's behest for over 55,000 guilders (Note 98). The Koninklijk Kabinel van Schilderyen must have been close to the hearl of the king, who regarded it as an extension of the palace (Notes 99, 100) . The old master paintings he acquzred for it are among the most important in the collection (the modern pictures, not dealt with here, were transferred to the Paviljoen Welgelegen in Haarlem in 1838, Note 104). For instance, in 1820 he bought a portrait of Johan Maurice of Nassau (Fig.35)., while in 1822, against the advice of the then director, he bought Vermeer' s View of Delft for 2,900 guilders (Fig.36, Note 105) and in 1827 it was made known, from Brussels that His Majesty had recommended the purchase of Rogier van der Weyden's Lamentation (Fig.37) . The most spectacular example of the king's love for 'his' museum, however, is the purchase in 1828 of Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp for 32,000 guilders. The director of the Rijksmuseum, C. Apostool, cortsidered this Rembrandt'sfinest painting and had already drawn attention to it in 1817, At the king'.s behest the picture, the purchase of which had been financed in part by the sale of a number of painlings from. the Rijksmuseum, was placed in the Koninklijk Kabinet van Schilderijen in The Hague. On his accession King William I had left the art objects which had become state propery after being ceded by the French to the Batavian Republic in 1795 as they were. He reclaimed the collections carried off to France as his own property, but it can be deduced from the Royal Decrees of 1815 and 1816 that it Was his wish that they should be made over to the State, including those paintings that form the nucleus of the collection in the Mauritshuis. In addition, in 1816 he handed over many art objects which his father had taken with him into exile. His son, William II, later accepted this, after having the matter investigated (Note 107 and Appendix IV). Thus William I'S munificence proves to have been much more extensive than has ever been realized.

The article examines the positive and negative experience of the consolidation of French and German citizens in process of nation-building by means of culture. The research deals with: practice of collecting masterpieces that influenced the development of public museums and the ability to defend national interests; the practice of consolidation of citizens around monuments of cultural figures; practices of confrontation between conservative intellectuals and modern artistic circles, which led to the fight against dissent, the destruction of books and the formation of the ideology of Nazism; practices of nazification of the education system, which revealed growing of the conflict between ideal virtues and the real behavior of participants in the educational process and politicians, and which subsequently legitimized absolute obedience to the leader; practices of collecting library collections, accompanied by theft of public libraries and private collections. The positive consequences of the consolidation citizens with the help of cultural institutions are indicated: the institutionally formed sphere of culture allows citizens to experience national pride, to be aware of themselves as a part of an original and rich national culture, to form their national identity. Cultural institutions create a space, which creativity is encouraged, opportunity for public discussions about culture and society are provided; educational and scientific activities are carried out. Recommendations on building a strategy for the cultural policy of Ukraine: the sphere of culture should be aimed at consolidating citizens; should expand the possibilities of various subjects of cultural activity and minimize the negative influences of the state; should expand access to quality education that fosters a culture of critical and creative thinking; should expand opportunities for international cooperation in educational and cultural projects based on the values of rights and freedom of individuals, mutual understanding and mutual respect of representatives of different cultures.

The Ladder of Divine Ascent of St. John Sinaites has been very popular among the Slaves in the Middle Ages. From the 14th century 66 manuscripts were kept, 29 of them are Serbian. Not less than seven ancient manuscripts are kept in the National Library of Serbia (in the collections of the monasteries of Decani and Pec and in the New collection). Two manuscripts are kept in the library of the University of Belgrade, in the collection of manuscripts Lesnovo monastery. Five Serbian manuscripts of the Ladder are kept in the Russian National Library (St. Petersburg). Three ancient Serbian books of the Ladder are kept in Moscow, in the Russian State Library. Six ancient Serbian manuscripts of the Ladder are kept in the libraries of Mount Athos: four in the Hilandar monastery and two in the Zograf monastery. Four manuscripts of the Serbian Ladder are kept in Bucharest, in the Library of the Romanian Academy of Sciences. One ancient manuscript is kept in Macedonia, in the Ohrid National Museum. One Serbian book of the Ladder is kept in Paris, in the Slavic Fund of the French National Library. Of course, the former number of ancient Serbian manuscripts of the Ladder was much more than 29. The Serbian manuscripts preserved all ancient Slavonic translations of the Ladder: Preslav (in two versions), Tarnovo, Serbian (in two versions) and Athos. The author gives a description of each manuscript, names its location, dating and the related manuscripts. The Ladder as a book has many components. The basics of this book are the Life of St. John Sinaites and his message to John of Raif and 30 homilies. In the Slavic tradition we added a lot of new texts to this, not Greek but Slavic. One of these texts is the dictionary ?Tolkovanie recem?. According to our observations, this dictionary appeared in the Serbian book culture not later than the second half of the 14th century. The text of this dictionary began to appear separately from the Ladder very early as a part of the ascetic Sammelbands. An example is a Sammelband of the library of the Hilandar Monastery, number 455. The text of this dictionary is in the appendix of the article.

The paper revises the traditional view at the travel writings of the era of Peter the Great. They are usually considered as naive works, and content of these works as identical to the biographies of it’s authors. The method of historical and linguistic research of V.M.Zhivov on the language of Russian writing is applied to the material of travelogues. The main purpose is to account for the pragmatics of the utterance in travel literature as in a phenomenon synthesizing heterogeneous features in principle and in the transitional Peter’s Era in particular. The paper is focused on the notes of the diplomat A.A.Matveev, compiled by him for himself as a result of his journey from the Hague to Paris (1705–1706). The narrative technique in Matveev’s text is examined (descriptions of the monuments of the French capital and the inscriptions to them in Latin), and it is shown that we should not reduce the function of Matveev’s work to purely diplomatic tasks of his actual journey. The descriptions recorded in Matveev’s text were politically charged: the author not only collected samples of inscriptions, but also demonstrated a new way for Russia to glorify the reigning monarch. This peculiar collection of Matveev is also considered in the context of cultural phenomena that were relevant at the beginning of the 18th century: private and court collections of rarities, embossing of commemorative medals, etc. The conclusion is made that borrowed elements change their function in the travelogue. In the historical and literary perspective, we must bring such works as Matveev’s notes out of the zone of marginal literary phenomena. In general, this allows us to see the key trends of the transitional period of the history of Russian literature. It is more appropriate to consider these processes not to state the Western European origin of individual elements of culture, but to analyze their pragmatics associated with the demarcation from the old Russian culture.

Development of heterotic hybrids is the most efficient approach to solve the problem of increasing the yield of rapeseed (Brassica napus L.), a leading oilseed crop. The cytoplasmic male sterility (CMS), widely used in rapeseed hybrid seed production, makes it possible to control hybridization between female and male lines. A review of publications on the nature of CMS systems in rapeseed and their utilization in breeding is presented. In rapeseed there are more than 10 known CMS systems of alloplasmic and homoplasmic origin. The male sterility character proved to be determined by chimeric mitochondrial genes, characterized by the presence of novel transcribed open reading frames (orf). Mitochondrial CMS genes associated with nap, pol, ogu and Nsa sterility types as well as nuclear Rf genes for pollen fertility restoration were identified. Molecular marker systems for identification of CMS-inducing and male fertility restoring genes were developed. The ogu, pol, MSL and inap CMS systems are commonly used for producing industrial rapeseed hybrids. The State Register of the Russian Federation for 2019 contains rapeseed hybrids of only foreign origin. Main achievements in domestic rapeseed hybrid production are highlighted. Research and breeding institutions developed new source material for rapeseed hete rotic hybrid breeding in various regions of the country. The sterility and fertility restoration sources were received from Canadian and French institutions as well as from domestic working collections. The yield structure traits did not deteriorate after transferring hybrid maternal lines to the sterile cytoplasm, while the glucosinolate content increased when pollen fertility restoring genes were transferred into paternal lines. Dihaploid (androclinium) lines and in vitro culture of unfertilized ovules were used to accelerate the breeding process. Experimental hybrids were developed using pol and ogu CMS.

The invasion of a limited contingent of Soviet troops into Afghanistan at the end of 1979 caused a mixed reaction among the Communist parties in Europe. Some of them subject the actions of the USSR leadership to sharp criticism. The article reveals to what extent the US administration was aware of the critical attacks against the USSR and the CPSU by the most powerful Western European Communist parties to determine how the factor of Eurocommunism influenced the Afghan vector of the US policy in 1979-1982 and how the American course turned out for the Communist parties themselves. The study is based on published documents (including electronic collections) of the Administration of the President of the United States J. Carter, the State Department, and the Central Intelligence Agency of the United States, as well as unpublished documents of the Central Committee of the CPSU from the funds of the Russian State Archive of Modern History, press materials and memoirs. It is concluded that 1) the invasion of Soviet military units into Afghanistan provoked a fierce battle of superpowers on the periphery of the Cold War, and in fact, became its peak; 2) one of the results of the Soviet operation was a deeper split in the world communist movement with its subsequent decline; 3) the United States sought to take advantage of the escalated disagreements between the Communist Party of the Soviet Union and the largest communist parties in Western Europe (especially Italian, to a lesser extent Spanish and French) and encouraged the actions of the European Communists aimed at distancing themselves from the CPSU and severing relations with the USSR. At the same time, Washington avoided public statements and actions that could look like a manifestation of solidarity with the Communist parties of Western Europe (primarily with the ICP), including the relation to the USSR policy in Afghanistan, giving priority to the policy to exclude completely the possibility for communists to participate in the governments of NATO states. Such a policy, against the background of the ongoing war in Afghanistan and the decline in the USSR's international prestige, contributed to the isolation of the European communist parties in their countries and the weakening of their electoral opportunities.

The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.

Madame de Sévignéand King John III Sobieski –the masters of 17th century French and Polish epistolography Marie de Rabutin-Chantal, marchionesse de Sévigné (1626–1696) and John Sobieski (1629–1696) lived during almost the same period of time. The marchioness was three years older, they died in the same year. Lady de Sévigné became a famous epistologra- pher already during her life and shortly after she died. Sobieski’s letters got published only in the 19th c. and their literary value was underlined for the first time by a renown translator of French literature, Tadeusz Boy-Żeleński, who compared the king’s letters with those of madame de Sévigné. What the marchioness’s and the king’s letters have in common is that these were all private letters to their closest and beloved ones -marchioness’s to her daughter, lady de Grignan and Sobieski’s to his wife, Maria Kazimiera d’Arquien. Due to the distance and longing, a uniquely inspiring epistolography was created. There are of course a lot of differences between their letters, however a number of common threads may be noticed. Many times did lady de Sévigné and Sobieski express a strong belief that their feelings towards the addressees are rare and extremely strong. Similarly, they considered them to possess exceptional traits, not only physical beauty but also outstanding spiritual and mental qualities. In their letters they often articulated their concern about health issues, emphasising that their own physical state depends very much on the condition of their beloved ones. In- spired by Molier’s comedies they knew very well from books and theatres, they would also refer critically to doctors’ opinions. The marchioness was also delighted with her daughter’s knowledge of medical issues and her interest in the philosophy of Descartes, describing it as “cartesienne” and call- ing the philosopher her spiritual father. Although Sobieski’s letters do not contain any philosophical reflection, he is known to be familiar with Cartesianism and to have kept the works of Descartes in his library. What is characteristic for both collections of letters and also unique for this period, is a close and warm relation with children’s world – marchioness’s grandchildren and So- bieski’s children. The grandmother and father used to take a lot of interest in their health, cared about their illnesses, gave advice on intellectual development. In the marchioness’s and the king’s letters some pre-romantic elements are also present which are visible in their attitude towards the nature – e.g. Lady de Sévigné mentioning her night walks under the moonlight and Sobieski contemplating the sunset.

Venedikt Mart is the pseudonym of the poet and writer Venedikt Nikolaevich Matveev (1895–1937). He was born and lived in Vladivostok until 1920, where he published his poems in local newspapers and magazines, published his first collections in the printing house of his father, who was a writer and local historian Nikolai Amursky (Nikolai Petrovich Matveev), (1865–1941). Venedict Mart became famous for his futuristic poems and translations of Japa- nese and Chinese poetry. The collection “At the Love Crossroads of Fads” (1922) is a clear mockery of precision culture. The reference to the long-gone culture of past centuries is comical in that V. Marth’s pretentiousness of vocabulary and immoderate hyperbolism of short stories is stronger than in any French novel created by a writer-precision. The heroes’ love explanations take an unexpected turn, in which romantic stories are resolved in a comic manner. In June 1917, in St. Petersburg on Krestovsky Island, V. Mart wrote the book “Emerald Worms”. In one of the main refrains of the text: “You smile and Your smile will remain here on Earth – in March to enchant the autumn people...”, the author’s self-irony is noticeable, since in the book “You” means “Genius of the Cosmos” who reaches Immortality – this means that his works live forever. In the phrase “You stay in March,” the author cleverly uses the fact that his pseudonym coincides with the name of the month. This game with the reader is a characteristic feature of the entire work of the writer. In V. Mart’s prose of the late 1920s – early 1930s, an educational orientation and adherence to the “state order” are visible. The 1932 story “Dere – a Water Wedding” combines several artistic directions. Some fragments of the text are stylized like a fairy tale story. V. Mart confronts this artistic direction with the literature of fact, thereby creating a comic effect through which the author expresses the catastrophic nature of the process of loss of self-identification of a small people under the influence of the “new way of life”. In the collection “At the Love Crossroads of Fads” creates a comic effect through sheer mockery of precision culture. Here V. Mart uses fabulous motives, which he will extensively use in his prose. In the book “Emerald Worms” absurdity and the author’s self-irony are the main methods of the comic. Since the end of the 1920s, being under the supervision of the police and squeezed by the censorship framework from the explicit forms of the comic, V. Mart turns to hidden irony, which is read more at the stylistic level, for example, a deliberate combination of literary genres far from each other in one work.

This collection of articles is the product of two symposia on the history of the French and American states held in Paris in 2007 and 2011. The first symposium, held at the EHESS, provided the opportunity to open a dialogue on this question. Since that event, many of us continued to work in this question. Since that event, many of us continued to work in the area and to discuss the comparative histories of the American and French states.

The article discusses a collection of articles of professor St. Petersburg State University Nina Zhirmunsky, articles on French and German literature. The collection was published posthumously. The article traces the author’s scientific path, the evolution of his interests related to French and German literature, as well as literary relationships. In addition, the article tells the history and principles of the posthumous publication of the collection.

In this review article, we focus on the depiction of the transnational and translingual as a state of being in-between in Klara du Plessis’s debut poetry collection, Ekke (2018). This in-between state has implications for how identity, place and visual art feature in the collection. Ekke contains fragments of German and French, but consists mainly of English interspersed with Afrikaans. The creation of meaning through this linguistic slippage reflects the idea of identity as always in-process that comes to the fore throughout the collection. Ekke also represents an intervention in South African urban literature, as Bloemfontein, a city not much featured in literature, is represented in several poems. In these poems, the poet/speaker struggles to situate Bloemfontein and its surrounding areas’ histories and symbolism in the transnational networks that she is a part of. The conception of identity and language being constantly in-progress is also conveyed in the collection’s poems about visual art. In these poems, meaning is created through the interaction of language with visual art, a process the poet calls ‘intervisuality’. Keywords: transnationalism, transnational identity, translingualism, multilingual poetry, Klara du Plessis, Bloemfontein in literature, ekphrasis.

Using the example of substitution of peripheral blood stem cell (PBSC) collection to bone marrow harvest for autologous transplantation in cancer patients, our study attempts to illustrate how economic assessment, starting at an early stage of medical innovation, can influence the development and diffusion process of a new technological procedure whose optimal design has not yet been established. Two cost minimization studies comparing costs for obtaining a clinically reinfusable graft using bone marrow harvest or alternatively various protocols of PBSC collection contributed to a change in the French clinical standard for this procedure.

Statement of the problem. After receiving the Nobel Prize in 1912 Rabindranath Tagore faced enormous popularity among Western composers. Their attention was mainly drawn to his two collections of poems – “Gitanjali” and “The Gardener”, which were translations from Bengali made by Tagore himself and published in 1912 and 1913 respectively. Interestingly, these poetry books were soon translated into a number of European languages, among which – French, Spanish, German and Italian. These translations were used by hundreds of composers who represented different national schools. In some cases, a number of different composers chose the same poem, which gives us an opportunity to compare their ways to interpret Tagore’s text. This make it possible to better understand both, the individual vectors of composer creativity, and the possible common or different tendencies in the interpretation of the poetic primary source. In this paper, we analyse and compare three songs, written by Franco Alfano, Karol Szymanowski and Alexander von Zemlinsky to the text of the poem № 7 “Mother, the young prince…” from Tagore’s “The Gardener”. Objectives, methods, and novelty of the research. The purpose of the article is to determine the peculiarities of musical interpretations of R. Tagore’s poem by named authors focusing on the compositional, intonation and figurative-emotional aspects, for which the methods of comparative, semantic, genre and stylistic, structural and compositional analysis are involved. Attempts to make such a comparison have not been made previously. Results and conclusion. The first song from “Three Poems by Tagore” (“Tre poemi di Tagore”) by F. Alfano, the second and third numbers of “Four Songs” op. 41 by K. Szymanowski and the second part of the “Lyric Symphony” op. 18 by A. Zemlinsky were compared. It was found that all compositions show bright stylistic differences (late romantic, impressionistic, expressionistic musical complexes), along with conceptual ones, taking into account genre conditions (chamber-vocal and vocal-symphonic models). There are certain common features between the tempo solutions by F. Alfano and A. Zemlinsky, however, these solutions are aimed at different interpretations of the poetical text. The two-stage dramaturgical development laid down in R. Tagore’s text is shown most clearly in K. Szymanowski’s cycle, where the plot of the poem is embodied in two songs instead of one, with obvious tempo contrast between them. While in the impressionistic song by F. Alfano, the image of a young girl captivated by her own feelings in a state of awe-inspiring anticipation appears before us, K. Szymanowski’s music written in line with expressionist tendencies, emphasizes mournful and tragic moods and sounds almost “otherworldly”. In A. Zemlinsky’s late romantic genre concept, R. Tagore’s poem becomes the basis of a vocal-symphonic scherzo with a tragic and philosophical undertone. Taking into account these differences, we will also note an interesting common typological tendency, which is visible in a kind of “portrait of a girl with a necklace”: a departure from the usual romantic musical oriental complex, despite the “exoticism” of R. Tagore’s works.

Soviet images of French literature are often reduced to the Stalinist canon of the late 1930s that comprised classical literature, including “modern classics,” like Romaine Rolland or Anatole France; and Communist and leftist writers selected as ideologically and aesthetically suitable for the Soviet reading audience, such as Henri Barbusse, Paul Vaillant Couturier, and others. This stereotype being partially true suggests, however, a simplistic and flattened view of the Soviet reception of French literature. It should be noted that even in the late 1930s there existed a certain amount of diversity in the choice of French authors; for example, International Literature magazine from time to time published ideological opponents like Pierre Drieu la Rochelle or Henry de Montherlant. As for the 1920s, in the course of the New Economic Policy both state and private publishing companies offered a wide and varied range of writers and books that included classics, “proletarian” and “revolutionary” authors along with adventure fiction, love stories, and “colonial novels,” easy reading, “decadent,” conservative, and “reactionary” writers. The paper traces transformations of publishing policy during the pivotal years of late 1920s and early 1930s, the period of the “Great Turn” in Soviet society, marked by processes of centralization, total state control, and tightening of censorship. Archival documents allow us to analyze the role of Soviet intellectuals (literary critics, reviewers, editors, publishers) in the elaborating of new guidelines and implementing new practices in publishing policy and organizing readers feedback. A collection of readers’ letters of the mid-thirties, stored in the archival funds of GIKHL (State Publishing House of Fiction), documents the process of the making of the Soviet reader and shows a range of readers’ opinions and attitudes to French writers and their works at the early stage of Stalinist canon forming.

The origin of the common Turkish language which is known today as ''Ottoman Turkish Language'' comes from the era of Ottoman State and was wirtten in Arabic letters. It contains numerous Arabic, French, and English loanwords. And different social, political, economic and cultural Turkish phrases and expressions are obviously affected by the Arabic language. The paper aims at investigating the employed Arabic words in the collection of Kadi Burhanettin and clarifying its segments and morphological functions and studying the Turkish suffixes and auxiliary verbs which are used with Arabic words in addition to analyzing the using of the Arabic letters in old ottoman texts and their equivalents in modern Turkish language.