Journal articles on the topic 'Pioneers Palace'

This article publishes the work of schoolgirl Lyudmila Muravyova who won the first prize in the literary contest of the Palace of Pioneers in Novosibirsk in 1962. The children’s literary competition was an important part of the mass work of the Department of Art Education of the Novosibirsk Palace of Pioneers in 1950s-1970s. Its work is thoroughly documented in the annual formal reports of the Palace of Pioneers, which are stored in the Novosibirsk City Archives (NSA) in fund 143 of the Municipal educational institution of additional education for children of Novosibirsk “Palace of creativity of children and students of youth ‘Junior’”. Based on the documents from the archives, the article presents the organizational structure of the competition, the compositions of participants, organizers, the sequence of the competition, instructions for creative contests. The article contains biographies of the contest participants and their future fates in the field of literature and journalism, as well as biographies of the contest organizers and jurors. The appendix contains an essay Statuetka (“Statuette”) by Lyudmila Muravyova and a conclusion-feedback from writer Nikolai Osinin, a member of the contest jury, based on the results of the 1962–1963 academic year.

The historical scheme of the Moscow Palace of Pioneers is analyzed. The features of the reconstruction of the territory of the Moscow Palace of Pioneers are revealed. The master plan of the territory of the palace of creativity for children and youth of the city of Voronezh is shown. The distribution of trees by state categories and life forms is given. The location of flower beds on the territory of the Palace of Creativity for Children and Youth of the city of Voronezh is presented. The range of recommended plants, their exactingness to soil moisture and types of plantings for the object of landscape organization of the territory is characterized. It has been established that planting of tapeworms, landscape groups, row plantings and hedges is recommended on the territory of the design object. The structure of the master plan of the literary park on the territory of the palace of creativity for children and youth of the city of Voronezh is determined. The place of the design object on the panorama with a view of the Voronezh reservoir is indicated.

This article deals with the problem of the significance of the Soviet period in the development of landscape architecture in our country and abroad. The object of research is the architectural and landscape ensemble of the Palace of pioneers on the Vorobyovy gory. To determine the origins and compositional value of this object, the stages in the development of Soviet landscape architecture are traced. The first stage is characterized — the period of constructivism in 1920–1930, which formed typologically new objects of landscape architecture — parks of culture and recreation, and had a decisive influence on the development of modernism throughout the world. The study of the works of Soviet landscape architects L.A. Ilyin, M.P. Korzhev, V.I. Dolganov, and M.I. Prokhorova revealed the techniques of architectural and landscape organization of objects of this period: functionality, conciseness, dynamics, asymmetry and scale. It is shown that the Palace of pioneers on the Vorob’ovy gory is one of the striking examples of the second stage, which came after the great Patriotic war, inheriting the techniques of constructivism and bearing the civilizational signs of the Soviet era in Russia. A comparative compositional analysis of its architectural and landscape composition in the past and present is carried out. The techniques by which the Palace of pioneers on the Vorobуovy gory had the quality of an ensemble are highlighted.

This article examines the historical discourse of Emperor Paul's representational program of power and personality in the context of the artistic universe of his St. Petersburg residence, the Mikhailovsky Castle. This large-scale project, Paul I embodied not only advanced building and decoration technologies of contemporary palace construction, but also the traditions of the sovereign's power and personality representation inherent in the palace discourse. The Mikhailovsky Castle of Emperor Paul I was both the most “expensive” object of palace construction and the most “conceptual”. His symbolic program absorbed the principles of power representation implemented in the residences of his predecessors. However, at the same time, it was formed personally by the royal customer. Examining the correspondence between the compositional axes of the building to the earthly (south-north) and spiritual (west-east) aspects of existence, the author of the publication reveals the symbolic, gender and historical principles in the composition of the grand enfilades of Paul I (southern and eastern parts of the palace) and Maria Feodorovna (northern and western parts of the palace). The researcher focuses on interpreting the history of Russia and the Sovereign's persona in the setting of the palace's exterior and interiors of the palace. The detailed semiotic analysis of the historical paintings created by J. Atkinson and G. I. Ugryumov on the initiative of Emperor Paul I for the Resurrection Hall of the Palace reveals the concept of power, based on the principles of masculinity, patriotism and sacredness. The gallery of hero rulers (the first of their kind), created by the artists, presented Paul I as one of the royal pioneers – the first ruler to unite not only secular and spiritual power, but also the Eastern and Western Christian churches. The dualism of secular and sacred principles is the leitmotif of the historical discourse of the palace decor, which, in turn, corresponds to the idee fixe of its sovereign master.

Massive fragments of portals, mouldings, and columns which are stored in stone collections and museum storage rooms are today of no particular interest. They spur the visitors’ imagination only slightly; there, just a piece of stone, carved, yet incomplete, broken. Can this legacy, difficult in perception, be shown in a different way and made memorable? Can it be made close to the audience? The concepts of the pioneers of conservation of historical objects are worth referencing. Realized concepts testify for an attitude of respect towards the legacy and traditions. Gothic architectural details that were abandoned during demolitions of historical structures in the 19th century, have survived elsewhere, “incrusted” in other structures. It happened in the walls of Collegium Maius, The Bishop Erazm Ciołek Palace, Pusłowscy Palace, Lubomirscy Palace, Tadeusz Stryjeński Palace. They were often treated as native relics. Saved from destruction and from being forgotten they adorn facades, interiors and gardens. Perhaps the idea and the examples of stone collections will spur a reflection and inspiration in designers today.

The article considers the biography of O.O. Markov (1889-1972), actor of the Kuibyshev Drama Theater, teacher, head of the drama studio of the Kuibyshev Palace of Pioneers, the personal fund of O.O. Markov in the Central State Archive of the Samara region is analyzed, the historical and informational potential of the foundation's documents for concrete historical research on the history of the creative intelligentsia of Samara in the Soviet period is determined.

The Cotroceni Palace was the permanent residence of the princely and then royal family Ferdinand and Marie. From the beginning of construction, the library was furnished in the French Henry IInd style and paneled in elm wood. Over time, the interior aspect of the library has not changed radically, housing a rich collection of books, as can be seen from the inventories made within this royal residence in the years 1930, 1938 and 1948. Prince and later King Ferdinand was anaccomplished book lover, passionate about botany, which he dealt with with the skill of a specialist, spending a lot of the free time he had at his disposal, in the library, to arrange his herbariumconstitutedas a result of his travels through the mountains, to Sinaia, on the Danube or after walks through the parks of the royal residences. After the death of King Ferdinand, the library continued to be used by Queen Marie, and later, after her death (1938) and then after the forced abdication of King Mihai and the establishment of the communist regime, the Cotroceni Palace suffered great destruction and the alienation of the heritage, including books from the royal library. The transformation of the Cotroceni Palace into the Palace of the Pioneers caused the interventions to change the interior appearance of the sumptuous royal halls, the library retaining its appearance from the royal period, but becoming a space for the political-ideological training of students and young people. After the restoration of the palace and the establishment of the Cotroceni National Museum, the library became part of the permanent exhibition, a space of spirituality, which exudes an atmosphere of sobriety that can only be found in the offices of great researchers and lovers of science.

With the improvement of people's spiritual and cultural needs, cultural and creative industries are rising all over the world. Museums are pioneers and important carriers of cultural and creative industries. A good industrial strategy should be consumer-centric. The Palace Museum has played a leading role in the domestic cultural and creative industry and has successfully attracted many consumers with its excellent marketing concept. However, there are still some shortcomings in the commercialization of museums' creative cultural products. This article takes the Palace Museum as an example to explore the commercialization strategy of the cultural and creative industries. Through literature analysis, this study analyzes the development and industrial strategy of cultural and creative industries and puts forward suggestions to improve the development status of cultural and creative industries. Cultural and creative industries can optimize the product mix from the perspective of customers and design practical products with innovative thinking. The culture and creative industry should deliver third-party services and improve the logistics system. This paper also suggests to use of new media propaganda channels and to pay attention to intelligent propaganda.

World War II produced a major shift in global power relations and led to the emergence of bipolarism. The agreements reached by the Allies in Yalta in February 1945 sanctioned the USSR's rule over Eastern Europe. In this context, the takeover of political power and the changes imposed in the economy by the communists in Romania, with the direct help of the USSR was a logical consequence. All the events that took place in Romania between August 23, 1944 and December 31, 1947 were part of the logic of communizing the Romanian society and state on the Soviet model. The communization of Romania followed a path that provided for the invalidation of the liberal, democratic, bourgeois, capitalist model of society and the imposition of another communist, undemocratic, egalitarian, totalitarian model. In order to achieve this goal, measures had been brutally applied to restrict citizens' rights, both politically and in terms of expression or property. In this context, the change of the historical role of the Royal Palace from Cotroceni to the Palace of the Pioneers was part of the propagandistic activity of a totalitarian regime which, in the absence of popular legitimacy, by vote, had to "fabricate" a history to legitimize it in front of the Romanian people.

The author attempts to explore the process of the reforming of children's choreographic education in Kirovohrad region in the 80-s of the twentieth century in this article. Choreographic education in the mentioned period was getting the features of continuous education. Starting from pre-school educational establishments, which had become the basis for harmonious development of a child, choreographic education was directed towards aesthetic upbringing of young people as well as universal values at all stages of learning. Thanks to public support functioning artistic groups worked effectively and new dance groups on the basis of secondary schools, palaces of pioneers and schoolchildren, enterprises, rural, urban and district houses of culture were created. Significant shifts occurred in the system of out-of-school education. Teachers-researchers focused their attention on the developing of new methods of cultural and educational work in out-of-school establishments, the events which were aimed at the improving of physical and psychological health of children, formation of the interest to the training in dance groups were especially important. Creation of creative children's associations, clubs, groups of the choreographic direction on the basis of the Kirovohrad regional Palace of Pioneers and Schoolchildren was not an exception in the system of art and aesthetic education of schoolchildren.The development of choreographic education in Kirovohrad region is demonstrated in the creation of new children's dance groups. The participation of children in the work of choreographic groups was directed at the goals gaining, namely: aesthetic education by means of choreographic art, expanding of the worldview and formation of moral qualities of a personality (collectivism, responsibility, friendship, sociability etc.). Despite the situation in the country, choreographic collectives, groups and ensembles of Kirovohrad region continued to popularize Ukrainian traditions, culture, and history of its people by means of choreographic art, to store and pass on the Ukrainian national heritage to the younger generation. The concept of «mentoring» emerged and consolidated in Kirovohrad region. In the 1980-s experienced managers of the best and most successful choreographic collectives shared their experience with young colleagues, provided consulting, gave creative tips.

This article is an attempt to show the beginning of Eduard Borisovich Abdullin’s creative path in the pedagogy of music education, in particular, his experience in teaching as an artistic director and conductor of the choir studio “Melodia” of the Palace of Pioneers in the city of Podolsk, Moscow Region. As a graduate student of the Lenin Moscow State Pedagogical Institute, the young teacher achieved tremendous creative success: the choir studio under his direction performed in the Great Hall of the Moscow Conservatory, the Column Hall of the House of Unions, the P. I. Tchaikovsky Concert Hall, in the Kremlin Palace of Congresses; toured in the cities of the USSR and European countries. On the first television channel, two hour-long television programs were shown. The studio of the State House of Radio Broadcasting and Sound Recording has released educational records. For almost half a century, the “Melodiya” studio continued to meet with its leader, and all members of the choir strove to attend them in order to meet their Teacher again. Special attention is paid to the significance of the fundamental works by Eduard Borisovich Abdullin, which became the basis for the pedagogical interpretation by the author in his research activities of the conceptual provisions of the methodology of pedagogy of music education. The sequential expansion of the problem field of the conducted musical pedagogical research is described: from the theoretical substantiation of the model for the development of the Central Russian folk song tradition by children to the formation of a new direction of research searches associated with the use of various vocal techniques at the junction of different genres.

Batik is very closely related to the Majapahit Empire and Islamic kingdoms in Java in the past. The development of batik incessantly took place during the Mataram kingdom in 1600-1700. During this time, batik spread throughout Java, where it was used for ceremonial purposes and attire for royalty, and the craftsmen of the palace artists created various kinds of batik motifs. The treasury of batik designs developed from a variety of aesthetic orientations, in Central Java's palaces, designs were often inspired by ritual. The spread of batik culture to the birth of coastal batik, its emergence is a new period in the world of batik. This period deserves to be called modern batik, the form of coastal batik has developed very widely with various cultural influences brought by immigrants. One of the pioneers in the world of batik in Surakarta City is Go Tik Swan Panembahan Hardjoanagoro, he is the creator of the birth of Indonesian Batik which was inspired by President Soekarno's orders. Indonesian batik is a sophisticated blend of batik elements in the archipelago, namely classic batik and coastal batik in the design of the motifs and the use of colors. Go Tik Swan makes the concept of semi-delinquent as the basis for creating inner masterpieces. Indonesian batik is modern and multi-colored, but does not leave its roots, namely Javanese culture in terms of design motifs, production processes, and their meanings. The aims of this study were to study the rationale for Indonesian Batik based on the concept of semi-deferred by Go Tik Swan, to know the process of creating and realizing Indonesian Batik, and to understand the role of "semi-deferred" in the style of Indonesian Batik by Go Tik Swan.

Central to late Ottoman history is a series of events that marks a milestone in the emergence of modern forms of political thought and revolutionary action in the Islamic world. The sequence opened with the rise of the Young Ottoman ideologues (1865) and the constitutional movement of the 1870s. It continued with the repression of these forces under Abdülhamid 11 (1876–1909). It culminated with the resurgence of opposition in the Young Turk movement of 1889 and later, and especially with the revolution of 1908. Studied so far mostly in political and intellectual terms, the sequence seems well understood. The emergence of the Young Ottomans—the pioneers of political ideology, in any modern sense, in the Middle East—appears to result from the introduction of Western ideas and from stresses created within the bureaucracy by the political hegemony of the Tanzimat elite (ca. 1839–71). The repression under Abdülhamid follows from the turmoil of the late 1870s, the weaknesses of the constitution of 1876, and the craft of the new sultan in creating a palace-dominated police state. The emergence of the Young Turks shows that terror ultimately fostered, rather than killed, the opposition. Too, their eventual revolutionary success shows how much more effective than the Young Ottomans they were as political mobilizers.

As a major offshoot of the national Egyptian movement that goes back to the beginning of the 20th century, a number of national leaders, Enlightenment pioneers, and social thinkers called for the establishment of an Egyptian university. These individuals hoped for this to be a lighthouse of liberal thought and the basis of a comprehensive academic revival in all fields of knowledge in order to be able to cope with international scientific and academic advancement. By May 1908, the Royal Palace chose the administrative council for the project of the Egyptian University (EU). When the university began, not a single Egyptian could meet all its ideal criteria for professors. The EU did borrow staff from the schools of law for its criminology, economics, and law programs. Dar al-Ulum constructed the university between 1908and 1925, which had at least nine professors. The other source of interim professors was Europe. The European professors fall into two categories: those who lectured in French or English on topics unrelated to the Middle East and the orientalists who lectured on Arabic and Islamic subjects. France, Italy, England, and, to a lesser extent, Germany all jockeyed for influence at the university. European professors dominated the first generation of faculty members while promising that Egyptian students were sent abroad to train for future teaching positions. In the present review, light will be shed on the large role played by those elite European professors in determining and pushing the university forward to stand with the Egyptian professors in order to examine the development of European-style education within the EU and, to a lesser extent, the cultural influence of a number of European countries in Egyptian education.

In this article, the author actualizes the problem of socio-pedagogical support for the formation of social competence of students, which expands their positive social experience, helps the subjects of support to realize their capabilities and assign the value of social competence. The purpose of the article is to substantiate the essence, content, advantages and limitations of the technology of socio-pedagogical support for the formation of social competence of students in additional education. The study of the socio-pedagogical support of formation of social competence of students is conducted under the scientific guidance of the author on the innovative area «Socio-pedagogical support of students in secondary education» of the Federal state budget scientific institution «Institute for the study of childhood, family and education of Russian Academy of education» on the basis of municipal educational institution of additional education of children «Yaroslavl city Palace of pioneers». The article attempts to present a new direction in pedagogical science at the level of identifying and presenting the content, advantages, risks and limitations of socio-pedagogical support as a technology for the formation of social competence of students in the organization of additional education. The author emphasizes the main theoretical positions that reflect the possibilities and features of additional education for the formation of social competence of students in the system of additional education of children; indicates a number of provisions that characterize social and pedagogical support from the point of view of the formation of social competence of students; argues the relevance of the formation of social competence for students. The article presents the main characteristics of socio-pedagogical support, identifies the stages and effective means of technology of sociopedagogical support for the formation of social competence of students in the organization of additional education. The article also outlines the prospects for experimental work on the topic of innovation platform.

You might be forgiven if you have never noticed the Pioneer Palace in Moscow 's Lenin or, formerly, Sparrow Hills (figure 1). You may have dismissed it as ju st anotherof those postwar prefabs that reminds you of your high school. Or perhaps you were too busy looking at Stalin's Moscow University, which looms over it. Yet, when the Pioneer Palace was built between 1958 and 1962, at theheight oftheKhrushchevThaw,thismodernistbox ofglass and reinforced concreteinspired enormousenthusiasm.

We report the case of a girl with syndromic cleft palate, probably as part of a first branchial arch syndrome, who was unique in having almost complete unilateral aplasia of the soft palate. Rather than using soft tissue transplants or a prosthesis, we pioneered the use of a modified Furlow technique, which proved to be simple to perform, effective, and safe.

Shanbei Cloth Art is one of the representatives of folk handicrafts in Sanqin Land, a unique folk handicraft in northern Shaanxi, which mainly uses cloth, silk and satin as the main raw materials. It usually aims to express the beautiful aspirations of folk life and convey the meaning of life fullness. And one of the most distinctive when it comes to a series of tiger shoes products, tiger shoes production techniques as early as some years ago has been included in China’s intangible cultural heritage, since the “Dictionary” on the “tiger shoes” interpretation for: the end of the Qing Dynasty, women in the Palace of the women’s embroidered shoes, which are embroidered with a first head, called the tiger head shoes.

This article presents a brief review of the Soviet Union's educational approach to gifted and talented children, focusing on the Young Pioneer Palace in Moscow. Soviet society, like American society, accommodates both the needs of certain individuals and those of the larger society. The Soviet Union's decision to serve the gifted is of less interest than the method it has selected to meet their needs. In the Soviet Union, an egalitarian ideology is circumvented by special programs and an eleborate network of after-school programs. The latter programs, in particular, are more elaborate than any other extra-curricular gifted education system and, thus, are worthy of consideration and emulation.

For many years, historical and artistic heritage of St. Petersburg has been the main object of researchers` scientific interest. New information about the architectural and urban development of the city has been provided by studies related to the protection of surviving historical buildings. Information about the initial stage of the urbanization of the city appeared during developments in related fields of science (history, economics, literary criticism, soil science and hydrography, etc.), but the data revealed are not systematized and are scattered among individual publications. In this article, taking into account the provisions of economic geography, the formation of St. Petersburg development is considered as part of the process of improving the available infrastructure of the territories in the Neva Delta area. It is emphasized that the dynamic evolution of residential development was due to an increase in the level of investment and the impact of an evolving land use system. Specific examples demonstrate the transition from the pioneer stage of development to the reconstruction stage development, and the role of organizational and economic levers in the formation of the main morphotypes of residential development is considered.The features of urbanization in early period of St. Petersburg existence are considered on the example of the development of the southern bank of the Neva, where the target settings were clearly manifested immediately with the beginning of the development of the territory. The implemented analysis of the building development on the coastal strip to the East of the Admiralty reveals the main features of the period from 1703 to 1715 and shows that it can be considered a pioneer period in the development of the territory.

In this paper several archaeological, historical and other aspects of aqueducts in Minoan era are reviewed. During the Middle Bronze Age a “cultural explosion”, unparalleled in the history of other ancient civilizations, occurred on the island of Crete. One of the salient characteristics of that cultural development was the architectural and hydraulic function of aqueducts used for water supply in “palaces” and cities. Usually aqueducts were collecting water from springs located apart from the settlements. The Minoan hydrologists and engineers were aware of some of the basic principles of what we call today principles and practices of water sciences with emphasis on the construction and operation of aqueducts. The description of selected Minoan aqueducts could justify that Minoans could be considered as pioneers in those technologies.

AbstractWhile scholars have known about the earliest ritual immersion pool in the Buried Palace at Jericho for more than thirty years, they have yet to produce a clear understanding of why the Hasmoneans began building ritual immersion pools when they did. Further, scholars have also failed to acknowledge the innovative nature of these spaces. I argue that we can best resolve these shortcomings by understanding the construction of the earliest known purpose-built ritual immersion pool (PBRIP) by John Hyrcanus I as an innovation driven by the political and social disruptions of the late second century BCE, and that once he had pioneered the idea of a PBRIP that it rapidly gained popularity. This article contextualizes the PRBIPs within the framework of Hellenistic palatial architecture and Second Temple literature rather than rabbinic literature.

Modern digitization technologies have created an increasing number of possibilities for capturing the physical dimensions and appearance of archaeological artifacts and sites in 3D. The usage of such data is usually targeted to the research, study, and documentation of our cultural heritage. At the same time, the increasing quality of the produced digitizations has opened new possibilities for the further exploitation of digitization outcomes in a wider context than initially expected. A pioneer in this direction was the gaming industry, where photogrammetry has been recently employed to achieve extreme photorealism. Of course, challenges still exist, especially when digitization accuracy is of importance, such as in the case of large-scale archaeological sites. Further challenges regard the need to combine indoor and outdoor scenes that pose requirements in the selection of the appropriate digitization modalities and post-processing strategies. In more detail, the challenges relate to the appropriate usage of existing technologies, organization issues in terms of digitization visits, the combination and registration of data, data acquisition, and data processing methodologies, etc. In this paper, we demonstrated a methodology for the digitization of archaeological sites that can be used for creating digital assets suitable for various scenarios including research, education, and entertainment.

Desa Palaan has natural and cultural wealth that is still preserved for agricultural areas and garden development, this service activity is expected to play a role and participate actively in the community. The purpose of its implementation is to establish, foster, and develop the potential that exists in the village, as community empowerment, through the use of local potential to lift the community from the poverty line. In general, the potential possessed by Desa Palaan is quite large, especially in terms of developing agriculture and plantations. With natural conditions and physical potential in agriculture, this village is a medium-land area that has very fertile soil conditions. By utilizing home yard land as an economic empowerment for the Desa Palaan community through pineapple cultivation, the future direction of Desa Palaan is to become a Pilot Inkubasi Inovasi Desa Pengembangan Ekonomi Lokal (PIID-PEL), to continue to innovate in an effort to improve the economy in the village through pineapple cultivation which some have pioneered by society

While the participation of millions of non-European soldiers in global wars has often been neglected or told as a victimological tale of unwilling war participation, choice and agency play a major part in the complex mnemonic agenda that unfolds in two novels that have pioneered the literary re-imagination of World War II from a non-European perspective: Amitav Ghosh’s The Glass Palace and Patricia Grace’s Tu. Both novels provide fascinating insights into ongoing processes of memory revision that contribute to an altered global memory of global war. Setting the historical record right by highlighting the achievements and sacrifice of non-European soldiers certainly constitutes one component of these processes, but to reduce these novels to instances of an allegedly “postcolonial” act of “remembering back” not only misses what these novels are substantially about, but also ironically re-centers Europe as the hub of global memory rather than de-centring Eurocentric memory routines.

The article is devoted to the development of the concept of children’s technoparks - facilities for supplementary education, which first appeared in Russia in 2015 and were formed largely due to the country’s general purpose clubs and children’s clubs, Houses and Palaces of Pioneers, which included technical creativity centers and stations for young scientists of natural-science orientation. The problem considered in the article consists not only in the semantic and practical, but in the corresponding typological development vector for this direction; the innovative approach to the organization of architectural space; the formation of functional and formal structure of these centers. The main aspects of the development of a new model of community center for children and adolescents are scientific and practical, informational and educational, socio-cultural and communicative, as well as typological approaches to the organization of quantoriums. The system-module approach becomes the basis for the structural organization of a technopark: a set of primary planning elements-modules for work in the relevant areas of future research activity and vocational skills of the students. Examples from architectural practice are given, as an approbation the project of the Children’s Technopark in the city of Yekaterinburg is presented.

Abstract The Rondinini family is important for having developed a well-defined taste in collecting during the fifteenth to eighteenth centuries, with an interest in ancient sculpture and painting staged in their palaces and villas in Rome and its surroundings. The most eminent artists active in seventeenth-century Rome worked for them. The paintings presented here are the most relevant examples of a great number of works that have re-emerged during a collaborative research project conducted by the universities of Florence and Salerno on the family’s contributions to the history of collecting. The first is a signed self-portrait by the Flemish artist Paul Bril, a pioneer amongst the landscape painters active in Rome between the late 1500s and early 1600s – a work of large size for the artist (110.0 x 81.5 cm); the second is a ‘witchcraft crowded with figures’ painted by Pieter van Laer, an eminent Dutch painter and leader of the group of masters called the ‘Bamboccianti’.

Feminism is among the common practices in the modern world and aims to proclaim gender equality. Mahfouz, Coetzee, and Gordimer are among the African Noel laureates who pioneered what could be termed a rebellion toward normality. Amina, a protagonist of Palace Walk, presents a character who purposes to challenge the biased and male-centric conventions. For instance, her choice of going to the mosque alone, in the absence of her husband, was a practice that was not acceptable in the Muslim culture; nevertheless, she took the bold step. On the other hand, Lucy is presented as a chain breaker who goes against the system of oppression by choosing a black husband. The choice of Lucy to leave her husband and start living with Rapulana, who was a black man, was a courageous move, and from that angle, she can be depicted as an agent of change. The same character is portrayed in Vera, who betrays her husband for another man, Ben – it is worth noting that Vera chose a black man, thus entering into an interracial relationship as in Lucy’s case. Such characters played a significant role in challenging what has been termed normalThe use of art presents a new perception of fighting for women’s rights non-violently. This study aims at answering questions on what causes gender inequality and how art, such as the use of novels, can be used to end this social issue.

This study aims to determine the biography of Haji Mohammad Syoedja' and his role in the development of PKO Muhammadiyah in Yogyakarta in 1920-1931. This study uses a historical method that focuses on literature review. The sources used in this study include books, journals, newspaper archives, and document archives which were analyzed using descriptive analysis methods. While the approach used in this research is a historical and sociological approach. This research uses role theory (Soejono Soekanto) and social movement theory (Sidney Tarrow). The results of this study are; First, Haji Mohammad Syoedja' is the son of Haji Hasyim, a lurang of the Yogyakarta palace, who was born on August 2, 1882. Since childhood, Haji Mohammad Syoedja' has been close to K.H. Ahmad Dahlan as his student. Haji Mohammad Syoedja' became the founder and first chairman of the PKO Muhammadiyah. Second, Haji Mohammad Syoedja' during his time as chairman of the PKO Muhammadiyah had several important roles including; pioneered the establishment of PKO Muhammadiyah in 1918, established various social services such as hospitals, poor houses, and orphanages, contributed his thoughts, energy and materials for the benefit of the PKO section, established relationships and expanded networks and introduced PKO Muhammadiyah to the general public.

Summary: The field of plastic surgery, formally organized in 1931 with the founding of the American Society of Plastic and Reconstructive Surgery, was shaped in many ways by a small practice of Philadelphia physicians. At the center of the practice was Warren B. Davis, a Philadelphia otolaryngologist and plastics pioneer whose innovations in cleft palate surgery would lead to significant improvements in functional and cosmetic outcomes in his time. In addition to his own innovations, Davis was responsible for the training of John Reese, the inventor of the Reese dermatome that changed the face of burn medicine during World War II. Aside from his contributions to surgery and the founding of the American Society of Plastic and Reconstructive Surgery, Dr. Davis was also the founder and first editor of the Plastic and Reconstructive Surgery journal which to this day is the premiere, authoritative journal of plastic surgery. Lastly, Dr. Davis established a plastic surgical practice, now Jefferson Plastic Surgery. Unique in its longevity, this practice would continue to shape the field of plastic surgery and continues to improve lives today—109 years after its founding in 1913.

The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.

Orofacial clefts and their management impose a substantial burden on patients, on their families, and on the health system. Under the current standard of care, affected patients are subjected to a lifelong journey of corrective surgeries and multidisciplinary management to replace bone and soft tissues, as well as restore esthetics and physiologic functions while restoring self-esteem and psychological health. Hence, a better understanding of the dynamic interplay of molecular signaling pathways at critical phases of palate development is necessary to pioneer novel prenatal interventions. Such pathways include transforming growth factor–β ( Tgfβ), sonic hedgehog ( Shh), wingless-integrated site ( Wnt)/β-catenin, bone morphogenetic protein ( Bmp), and fibroblast growth factor ( Fgf) and its associated receptors, among others. Here, we summarize commonly used surgical methods used to correct cleft defects postnatally. We also review the advances made in prenatal diagnostics of clefts through imaging and genomics and the various in utero surgical corrections that have been attempted thus far. An overview of how key mediators of signaling that drive palatogenesis are emphasized in the context of the framework and rationale for the development and testing of therapeutics in animal model systems and in humans is provided. The pros and cons of in utero therapies that can potentially restore molecular homeostasis needed for the proper growth and fusion of palatal shelves are presented. The theme advanced throughout this review is the need to develop preclinical molecular therapies that could ultimately be translated into human trials that can correct orofacial clefts at earlier stages of development.

The article is devoted to the peculiarities of aesthetic education of primary schoolchildren in out-of-school educational institutions of Ukraine at the end of the 19th ft the beginning of the 20th century. It is emphasized that the issue of aesthetic education of primary schoolchildren is very important in the current conditions of social development, when social contradictions are aggravated, national values and ideals are in the process of disappearing, and immoral behavior is widespread among young people. It is outlined that aesthetic education is aimed at attracting primary schoolchildren to the treasures of spiritual and artistic culture, to the world of moral values through the formation of aesthetic concepts, tastes, ideals. It develops the creative abilities of the individual and is closely connected with the cultural life of the society. It was determined that the Hlukhiv Music (Singing) School, Kharkiv Singing School, the Kamianets-Podilskyi art boarding school for rural children in the 19th century was directly involved in the aesthetic education of children. The significant contribution to the development of the theory and practice of aesthetic education of the Kyiv Regional Pedagogical Society «Prosvita» and teachers’ congresses is established. It is emphasized that at the beginning of the 20th century, the aesthetic education of primary schoolchildren was realized both within specially created out-of-school artistic and aesthetic education institutions (children’s clubs, children’s playgrounds, children’s theaters, libraries, art education centers, art studios, pioneer palaces etc.), and in institutions of social upbringing of children (orphanages, children’s villages, communities, colonies for orphans, semi-boarding schools, day centers, summer colonies).

Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.

The Sultanate of Buton whose Sultan is called khalifatul khamis was formed in 1332 and became one of the past Islamic civilizations. Historically, the land of the royal city center was discovered, pioneered and built by four groups of immigrants from Johor. In addition to its interactions with local neighboring kingdoms in the archipelago and several European countries, the city of the Sultanate of Buton was once occupied by the kings of Mecca, Arabs, and Turkish rulers who also controlled the city. The results of the study found that several relics can be found in this area, including three city forts built on a hilly landscape, namely (1) Fort Kotana Wolio, (2) Fort Kotana Sorawolio, and (3) Fort Kotana Baadia. In position, these three forts have a unique arrangement and character that forms a triangular pattern. The triangular pattern places the Kotana Wolio Fort - Buton Palace like the Imam and the Kotana Baadia Fort and the Kotana Sorawolio Fort as the Ma'mum, all of which face west as if they were praying facing the Kaaba. Thus, during the sultanate, the function of the city fort was for defense and interconnectivity between forts that became strategic and effective. Especially in the historical context of the old city, it will be difficult to understand because of its complexity. In this paper, with reference to the historical aspects and artifacts of the existing forts, the discussion is to identify the order (position and layout, distance between forts, and urban land area), orientation patterns, public infrastructure, and runways. philosophy. Data collection methods used include field surveys, tracing of original manuscripts, and interviews with traditional leaders. For aerial photos, satellite images downloaded from Google earth are used, and other supporting materials from the results of previous studies are also used. Next, the collected data were analyzed and synthesized. In fact, every city fort is a residential area and Wolio City is the center and area of the first fort built; Thus, this paper is expected to contribute to sustainable urban planning or become a mirror for the formation of new cities.

The article presents a final analysis of the development of nonformal education institutions (NFEI) and their architecture. The time limits of the research were analysed, established, and substantiated by the author of the article, both from the side of the branches related to the research and from the side of the development of the architecture of institutions that are similar in function to the NFEI. The development of their architecture and typology is schematically presented in Fig. 1. In the first stage—the second half of the 19th century — and the beginning of the 20th century, there was a period of formation and definition of the NFEI. The period had a compensatory and educational, and sometimes preventive and curative, character. Educational centres attached to churches are of great importance here. Seasonal institutions are taking shape: summer colonies and camps. Children's clubs and adult education centres, community centres, and new forms of education for adults are being created, including summer sessions that take place on the grounds of educational institutions and corporate schools. At the same time, non-academic, non-formal types of education are emerging on the basis of public associations, clubs, bureaus, publishing houses, libraries, etc.— a combined NFEI. The second stage is from 1917 through 1930, those years being the period of development and formation of the NFEI and its architecture. The nature of functioning remains compensatory and enlightening. 1918 was the year of the birth of out-of-school education in Ukraine, which was included in the general system of public education. A typological series of institutions of this period are folk houses and schools, clubs of various types, houses and palaces of culture, libraries, seasonal children's camps, children's theatres and cinemas, and sports and music schools, etc. The third stage is from 1941 through 1956, a period of intensive development and branching that already had a systematic educational character. On the territory of Ukraine, the role of folk houses is gradually lost, and their educational functions are finally transferred to clubs, cultural centres, houses and palaces of culture, cultural and leisure facilities, etc. In Great Britain, Canada, Australia, and other countries, the network of educational institutions for adults is expanding. The fourth stage (1957–1991) was the period during which educational concepts and models were developed. Significant changes were taking place both in the interpretation of nonformal education as a phenomenon and in the organisation of architectural objects in this direction. Universities of the Third Age were founded as a component of adult education and the concept of "lifelong education". Concepts of out-of-school education (development and care) were being formed. The activity of nonformal educational institutions expanded: circles, clubs, palaces, and houses of pioneers; stations of young technicians; naturalists; youth associations, clubs, scientific societies of students, and small academies of sciences, etc. Stage V: From 1992 to the present, there has been a period of ideological changes and educational reforms. The concept of "out-of-school education" is combined with the concept of "nonformal education". The nature of education is becoming much more extensive and competency-based. Youth and adults can acquire informal education in universities, clubs, educational and educational centres, public associations and unions, cultural centres, museums, libraries, studios, clubs, schools, craft workshops, etc. Adult education centres that operate as independent institutions as well as structural subdivisions of educational institutions, government agencies, and other organisations are becoming more common. Away from Ukraine, namely in the Netherlands, Germany, England, and Finland, "extended schools" are rapidly spreading. The education system tends to integrate school institutions with institutions of non-formal education and enlightenment in various directions with the involvement of a social and caring component, creating public centres. The author sees the prognostic directions of the development of NFEI architecture and typology in the creation of certain typological educational links for different age categories of visitors, which can be integrated into public buildings of various types. Seasonal institutions of non-formal education, institutions profiled according to educational levels, and cultural and leisure institutions (libraries, theatres, museums) will remain distinct typological series as long as non-formal educational centres are established in them. Public centres, as an architectural and typological link, will gain more popularity due to the combination of educational and various public functions. Also, there is an assumption that "extended schools" will develop rapidly, in view of the decentralisation reform and with the aim of providing various educational products to territorial communities. If we generalise the main prognostic directions of the development of the architectural and typological series of the NFEI, the main directions can be the cooperation of resources, on the one hand, and the integration of various centres of the NFEI into buildings belonging to other typological links.

Latar belakang: Celah bibir dengan atau tanpa celah lelangit merupakan abnormalitas perkembangan kraniofasial yang paling sering terjadi. Kelainan ini bisa unilateral atau bilateral, dan mungkin disertai dengan anomali kongenital lain. Celah bibir bilateral berpotensi mengubah struktur dan bentuk wajah serta menyebabkan gangguan dalam perkembangan makan, bicara, gigi geligi, dan kosmetik. Celah bibir selalu disertai dengan deformitas hidung, termasuk pada kasus celah bibir inkomplit. Mulliken adalah pionir yang melakukan perbaikan celah bibir bilateral dan rinoplasti primer dalam satu tahap operasi. Tujuan: Mengetahui keberhasilan operasi celah bibir inkomplit bilateral dan rinoplasti primer dengan teknik modifikasi Mulliken. Laporan kasus: Dilaporkan satu kasus celah bibir inkomplit bilateral pada anak laki-laki usia 7 bulan yang ditatalaksana dengan teknik modifikasi Mulliken. Metode: Telaah literatur berbasis bukti mengenai perbaikan celah bibir inkomplit bilateral dan rinoplasti primer dengan teknik modifikasi Mulliken melalui database Cochrane library, Pubmed Medline, dan hand searching. Hasil: Pertumbuhan nasal tip projection, nasal width, columellar length, upper lip height, cutaneous lip height, dan vermilion-mucosal height mendekati nilai normal. Kesimpulan: Prosedur celah bibir inkomplit bilateral disertai rinoplasti primer dengan teknik modifikasi Mulliken memberikan hasil yang baik. Introduction: Cleft lip with or without cleft palate is the most common disorder of craniofacial development. This disorder could be occurred unilaterally or bilaterally, and sometimes were also accompanied by other type of congenital disorders. Bilateral cleft lip potentially could change the face structure and shape, causing interference in eating, speech, dental development, and aesthetics. Cleft lip always occurred with nasal deformity, even in incomplete cleft lip. Mulliken is a pioneer in performing a repair in bilateral cleft lip and primary rhinoplasty altogether at the same time. Purpose: To find out the result of surgery procedure in bilateral incomplete cleft lip and primary rhinoplasty using Mulliken modification technique. Case report: A bilateral incomplete cleft lip case in a 7 months old boy and managed by Mulliken modification technique. Method: Evidence based literature study of bilateral incomplete cleft lip and primary rhinoplasty with Mulliken modification technique through Cochrane library, Pubmed Medline, and hand searching. Result: The growth of nasal tip projection, nasal width, collumellar length, upper lip height, cutaneus lip height, and vermilion mucous height were close to normal size. Conclusion: Procedure of bilateral incomplete cleft lip and primary rhinoplasty repair using Mulliken modification technique delivered a good outcome.

Abstract: Ubud, a dense tourism area originating from a rice field village, has Puri Saren Agung as a pioneer of Architectural Conservation. This paper aims to reveal the meaning of Bale Ukiran and Bale Gede (the main building of Puri Saren Agung), their significant architectural elements, and their conservation concept. Bale Ukiran a magnificent style of traditional Balinese architecture, limasan roof, red brick walls, multilevel open front terrace, its function is a place to receive guests, meetings and residence of the Puri family. The architectural/historical meaning is the splendor of the palace; Balinese cultural meaning of 'mountain - sea' and 'dualism of life' on terraced terraces; The meaning of the 'three layers of nature' in the carved ceiling - brick walls, wooden pillars - granite floor; The meaning of natural harmony on open terraces, wooden beams. Significant architectural elements: Limasan roof, terraced open terraces, carved ceiling-beams-doors-windows, brick walls. The building is maintained by adaptation, its function is preserved. Bale Gede is in the style of traditional Balinese architecture, with a thatch roof, open, its function is the place for Balinese religious/traditional ceremonies for the Puri family. The meaning of the architecture is sacred customary bale; The Balinese cultural meaning of the 'three layers of nature' through gold carvings on the underside of the roof - wooden pillars - granite floor; The meaning of the harmony of nature through the openness of buildings, wooden beams; The meaning of harmony between past and present life through the building remains as the original, the adaptation of the present in gold carvings, white granite floors. Significant architectural elements: Alang-alang roof, open, white floor at the highest level, gold carvings on the lower part of the roof. The building is maintained with few adaptations, its function survives.Abstrak: Ubud, kawasan pariwisata padat yang asalnya desa persawahan, memiliki Puri Saren Agung sebagai pionir Pelestarian Arsitektur. Tulisan ini bertujuan mengungkap makna Bale Ukiran dan Bale Gede (bangunan utama Puri Saren Agung), elemen arsitektur signifikannya, dan konsep pelestariannya. Bale Ukiran megah bergaya arsitektur Tradisional Bali, atap limasan, dinding bata merah, teras muka terbuka bertingkat, fungsinya tempat menerima tamu, pertemuan dan hunian keluarga Puri. Makna arsitektur/sejarahnya kemegahan istana; Makna Budaya Bali ‘gunung - laut’ dan ‘dualisme kehidupan’ pada teras bertingkat; Makna ‘tiga lapisan alam’ pada plafon berukiran - dinding bata, tiang kayu - lantai granit; Makna keharmonisan alam pada teras terbuka, tiang-balok kayu. Elemen arsitektur signifikan: Atap limasan, teras terbuka bertingkat, ukiran plafon-tiang-balok-pintu-jendela, dinding bata. Bangunan dipertahankan dengan adaptasi, fungsinya dipertahankan. Bale Gede bergaya arsitektur Tradisional Bali, atap persisai alang-alang, terbuka, fungsinya tempat upacara keagamaan/adat Bali keluarga Puri. Makna arsitekturnya bale adat sakral; Makna Budaya Bali ‘tiga lapisan alam’ melalui ukiran emas bagian bawah atap - tiang-tiang kayu - lantai granit; Makna keharmonisan alam melalui keterbukaan bangunan, tiang-balok kayu; Makna harmoni kehidupan masa lalu - masa kini melalui bangunan bertahan seperti aslinya, adaptasi masa kini pada ukiran emas, lantai granit putih. Elemen arsitetur signifikan: Atap tajug alang-alang, terbuka, lantai putih level tertinggi, ukiran emas bagian bawah atap. Bangunan dipertahankan dengan sedikit adaptasi, fungsinya bertahan.

The Srimpi Lagu Dhempel dance is a traditional dance which grew and developed inside the palace walls. Originally this dance was not allowed to be performed outside the palace walls because of its exclusive nature and the strong sense of ownership within the palace. However, after the establishment of a number of art colleges in the 1970s, this dance began to be performed outside the palace, including at STSI Surakarta, which uses the dance as lecture material. STSI Surakarta is an institution of higher education for the arts in Indonesia whose mission is to develop the life of Indonesian art and culture which is oriented to the future. As such, the tendency towards change must take place within a framework of creativity and possess a dynamic quality. In this case, one example of change is the endeavour to create an abridged version of the Srimpi Lagu Dhempel dance. The creation of shorter versions of existing dances at STSI Surakarta was pioneered by the late Gendhon Humardani, and subsequently continued by many of his students. The abridgment of the Srimpi Lagu Dhempel dance was based on the concept of “container” and “contents”. The orientation of the abridgment is not time and the fact that the time becomes shorter is a result rather than the goal of the abridged version.Keywords : Abridgement, Srimpi Lagu Dhempel dance.

El artículo aborda el nacimiento de la fotografía de guerra en España con la Guerra de África (1859-60). El fotógrafo pionero fue Enrique Facio, del que analizamos su obra. Empleamos las crónicas de guerra de Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, que sirven para establecer la relación de las ilustraciones con las crónicas y porque los datos sirven para fijar algunas autorías de las fotografías. Además, se han utilizado archivos familiares, el Archivo General de Palacio (Madrid), el Archivo General Militar de Segovia y la Biblioteca Nacional. También se ha considerado a otros fotógrafos e ilustradores que retrataron la contienda bélica, como Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez.Abstract: This paper discusses the birth of war photography in Spain during the Hispano-Moroccan War (1859-60). The pioneer photographer was Enrique Facio, whose life and works are analyzed. The war chronicles of Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, are used not only to establish the relation between the ilustrations and the chronicles, but also to determine the authorship of some of the presented photographs. Additionally, other sources such as family archives, the Palace General Archive (Madrid), the Military General Archive of Segovia and the National Library have been employed. Moreover, other photographers and ilustrators that portrayed the military conflict have been considered: Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez. Palabras clave: Fotografía de guerra; Enrique Facio; periodismo gráfico; vistas estereoscópicas; Guerra África. Keywords: War photography; Enrique Facio; Graphic Journalism; Stereoscopic Views; Hispano-Moroccan War.

EditorialMajor developments were made recently in both VR (virtual reality) and AR (augmented reality) technologies, which became the focus of attention. In recent years, MR (mixed reality) technology has also emerged, and optical components play an irreplaceable role in these technologies.Professor Byoungho Lee, who graduated from the University of California at Berkeley and currently works at Seoul National University in South Korea, has been committed to the development of optical components used in VR and AR technologies. As a pioneer of optical electronics in Korea, he is involved in various well-known academic organizations in the optical field, such as the Optica, SPIE, and IEEE, as well as serving as the president of the Optical Society of Korea, leading the direction of the development of optical industry in Korea. As the ambassador of China-Korea Optoelectronics Exchange, Prof. Lee has also played an active role in Chinese optical events and activities. Over the years, he and the Journal Light: Science & Applications (LIGHT) have made progress together and have both made their names in the vast field of optoelectronics.So where did the story between Prof. Lee and the LIGHT journal begin? And what kind of link does the professor have with Changchun Institute of Optics, Fine Mechanics and Physics (CIOMP)? How did he become a pioneer in optoelectronics technology? These are the questions we are eager to ask Prof. Byoungho Lee.The future cannot be predicted, but it can be invented, said Dennis Gabor who had invented holography. The pace of human technological advancements has never stopped. Who is to say that we cannot take a virtual tour of the Palace Museum or explore the north and south poles in the future? Scientists like Prof. Lee are working hard to use technology to provide mankind with an intelligent lifestyle, and lead a new technological trend. I am sure we are all looking forward to it.

The United Nations defines the Human Rights as the rights of all human beings, regardless of race, gender, language, religion, nationality, or any other status. These rights include all claims to live freely, to educate and work in equality, and to inhabit humanistic urban and architectural spaces. Throughout the history of architecture, civilisations have generated different perspectives towards respecting the human rights. Temples of Ancient Egyptian Architecture crushed the human scale to introduce religious experiences to their visitors. Tibetan temples over mountains enforced people to make anti-humanistic journeys to reach them. After thousands of years, the mega-scale palaces and cathedrals in the Gothic era underestimated the human scale due to the powerful rule of Church in Europe. On contrary, pioneers of Renaissance Era made an intellectual revolution to respect humanism through humane proportions. After a while, the Industrial Revolution employed all materials, machines, and sciences to serve humanism. Architectural projects therefore fulfilled the physical without covering the spiritual and emotional human needs. This remained until 1960s when the postmodern architecture emerged. Nowadays, several architectural projects have unfortunately neglected achieving equality for all categories of users. Critics, such as Jane Jacobs 2000, have pointed out that a number of starchitects - pioneers of the architectural world - have designed anti-humanistic spaces. Within the onslaught of digitization, deconstruction, and free forms, some architects have celebrated the power of building technology in designing non-traditional compositions, disregarding the humane essence. These uncanny forms have missed the feeling of humane dimension. This research aims to investigate the relationship between architecture and human rights, trying to propose a new architectural manifestation putting the human rights as the first priority. In order to achieve this aim, the paper followed scientific methods, starting by literature review defining the meaning of human rights, its values, and its relation to the humane architecture. To collect this data, the authors depended on desk research and reviewed previous readings to highlight the examples that put the humane factor at the first place as the main design-concept. A deep analysis for two case studies has been conducted, based on observations, photos, and documentation. Authors experienced these two projects during personal site visits. The analysis detected the architectural representations of humane design in both projects. A comparison between the case studies presented the most important elements and features that their architects were keen to apply. The research concludes that architecture and human rights are inseparable, and the design of human space needs a symphony of multiple tasks and elements including specific materials, meaningful spaces, and advanced technology.

Aleksandr Sergeyevich Lysetskiy (1919–1991), whose centenary is celebrated this year, was a well-known ornithologist and mammologist and worked for a long time as an associate professor at the Department of Zoology at Kharkiv University. He has been interested in zoology since childhood and has been a young naturalist at the Kharkov Pioneer Palace and in Kharkiv Zoo as early as 1934. A.Lysetskiy started his studies at the biological faculty of KhNU in 1938 and finished it after the Great Patriotic War in 1948. Already in these years (from 1937 to 1947) he, together with his student friend A.Kunichenko, collected bat specimens, which are now stored in the Museum of Nature of KhNU. Since the labels of almost all specimens do not have the names of collectors, this collection was determined by us by comparing all the data (collection numbers, dates etc.) of the samples with the data given in their paper "To the bat fauna (Chiroptera) of Kharkiv region», which was published in 1952. In total, the Museum of Nature collection now has 139 specimens of bats from 18 species, 11 genera and 3 families. The majority – 129 specimens belong to the family Vespertilionidae. Of these, 52 specimens were collected by A.Lisetskiy (together with A.Kunichenko). This material is provided in the comparative table. Of the 9 species of this family represented in their collection, 6 species are representing fifty or more percent of the total number of all specimens stored in the Museum of Nature. These species are: Myotis dasycneme (66.6%), Plecotus auritus (75%), Nyctalus lasiopterus (100%), Nyctalus leisleri (55%), Pipistrellus nathusii (83.3%), Vespertilio murinus (100%). Only these collectors provided specimens of two species: these are the only specimen of Nyctalus lasiopterus and both specimens of Vespertilio murinus. Nowadays, all of these specimens (except Nyctalus lasiopterus, which is on display) are stored in separate boxes in the scientific collection of the museum. We can conclude that the collection of A.Lisetskiy and A.Kunichenko make up the prevailing part of the scientific collection of bats of the Museum of Nature of Kharkiv University.

Introduction The recipe is more than just a list of ingredients and the instructions on how to prepare a particular dish. Recipes also are, as Janet Floyd and Laurel Foster argue, a form of narrative that tells a myriad of stories, “of family sagas and community, of historical and cultural moments and also of personal histories and narratives of self” (Floyd and Forster 2). Among the most intimate and personal sources of recipes are manuscript cookbooks. These typically contained original handwritten recipes created by the author as well as those shared by family and friends; some recipes were copied from published cookbooks or clipped out of newspapers and magazines. However, these books are more than a mere collection of recipes and domestic instructions, they also paint a unique and vivid picture of the life of their authors. These manuscript cookbooks were a common sight in many Australian colonial kitchens, yet they are a rarely examined and rich archival source that provides a valuable insight into foodways, material culture, and the lives and social relationships of the women who created them. This article will examine the manuscript cookbook created by Phillis Clark in the Darling Downs during the 1860s. Through a close examination of Clark’s manuscript cookbook, this article will explore colonial domestic habits and the cultural context in which they were formed. It will also highlight the historical value of manuscript cookbooks as social texts that chronicle daily life, both inside and outside the kitchen, in colonial Australia. A Colonial Woman Phillis Clark was born in Tasmania in 1836. She was the daughter of Charles Seal, the pioneer of the whaling industry in that state. In 1858 she married Charles George Clark, the eldest son of a well-known Tasmanian family. Both the Seal and Clark families were at the centre of social and political life in Tasmania. In 1861, the couple moved to Talgai, twenty two kilometres north-west of Warwick in the Darling Downs region of Queensland. Here, Charles Clark established himself as a storekeeper and became a partner in the Ellinthorp Steam Flour Mills, the first successful flour mill in Queensland (Waterson 3). He also represented Warwick in the Queensland Legislative assembly between 1871 and 1873. Clark’s brother, George Clark, also settled in the area together with his wife and family. In 1868, both families set up home in adjoining properties known as East Talgai and West Talgai. This joint property, with its well manicured gardens, English trees, and fruit orchard, has been described as a small oasis “in an empty, brown and dusty summer landscape” (Waterson, Squatter 19). The Manuscript Sometime during this period Clark began to compile her very own manuscript cookbook. The front of Clark’s manuscript is dated 1866, yet there is ample evidence to suggest that she began work on this manuscript some years earlier. Clark was scrupulous in acknowledging the sources of her recipes, a habit common to many manuscript cookbook authors (Newlyn 35). She also initialled her own creations, firstly with P.S., for her maiden name Phillis Seal, and later P.S.C. for Phillis Seal Clark, her married name. By 1866 Clarke had been married for eight years so it can be assumed that she commenced her manuscript some time before 1858. A number of the recipes that appear in the manuscript appear to be credited to people living in Tasmania. Furthermore, a number of the newspaper clippings found in her manuscript can be dated to before 1866, including one for 1861. The manuscript itself is a hard bound and lined notebook, sturdy enough to withstand the rigours of daily use in the kitchen. The majority of recipes are handwritten but there are also a number of recipes clipped from newspapers interspaced within the manuscript. The handwritten recipes are in a neat copperplate style and all appear to be written in the same hand. The recipes are not found in distinct sections, although there are some small clusters of particular types of recipes, highlighting the fact that they were added to the manuscript over a period of time. At the front of the manuscript there is a detailed index noting the page number on which each recipe is to be found. The recipes themselves follow the standard conventions of the period. The Sources The sources from which Clark gathered some of the recipes in her manuscript indicate the variety of texts that were available to her. There are a number of newspaper clippings pasted in the pages of her manuscript for a range of both recipes for foods as well as the so-called domestic remedies (medicines) and receipts for household products. Amongst the food recipes there are to be found instructions in the making of cream cheese in the Irish manner and a recipe for stewed shoulder of mutton as well as two different methods for preparing kangaroo. While it is impossible to fully know what newspapers all these clippings have been taken from, at least one of them came from the Darling Downs Gazette and General Advertiser and it is likely that some of them might also have come from a number of the local Warwick papers (one which was founded by her brother-in-law George Clark) that were in publication during Clark’s residence in the area. Clark also utilised a number of published cookbooks as sources for some of the recipes in her own manuscripts. Like most Australians until the last few decades of the nineteenth century, Clark would have mainly resorted to the British cookbooks that were available. The two most commonly acknowledged cookbooks in her manuscript were Enquire Within Upon Everything and Eliza Acton’s. Enquire Within Upon Everything was an immensely popular general household guide amassing eighty-nine editions in a little over forty years in print. It contained information on a plethora of subjects (over three thousand individual entries) including such topics as etiquette, first aid, domestic hints, and recipes. It first appeared on the British market in 1856, under the editorship of Robert Kemp Philp, and became available in Australia in the same year. Booksellers in the Darling Downs advertised copies of the book for the price of three shillings and six pence. Eliza Acton, for her part, was one of Britain’s leading cookbook authors. Her books were widely available throughout the colonies with copies advertised for sale by J. Walch and Sons booksellers in Hobart (‘Advertising’ 1). Extracts from her cookbook Modern Cookery for Private Families began to appear in Australian newspapers only months after it first was published in Britain in 1845 (‘Bullion’ 4). Although Modern Cookery did not provide any recipes directly catering for Australian conditions, its simple and straightforward approach to cookery made it an invaluable resource in the colonial kitchen. Such was the popularity and reputation of Acton’s work that in the preface to Australia’s first cookbook, The English and Australian Cookery Book, the author, Tasmanian born Edward Abbott, stated that he hoped that his cook book would posses “all the advantages of Mrs. Acton’s work” (Abbott vi). The range of printed sources contained within Clark’s manuscript indicate that women in colonial households were far from isolated from the culinary trends occurring in other parts of Australia and the wider British empire. The Recipes Like many Australian women of her class and generation, Phillis Clark reproduced the predominant British food culture in her kitchen. The great majority of recipes contained in her manuscript are for typically English dishes, particularly those for sweet dishes such as biscuits, cakes, and puddings. Plum pudding, trifle, and custard pudding are all featured in her book. As well, many of the savoury dishes such as curry, roast beef, and Yorkshire pudding similarly reflect the British palate. In There is No Taste like Home: The Food of Empire, Adele Wessell argues that the maintenance of British food habits in Australia was a device to reaffirm “cultural and historical bonds and sustain a shared sense of British identity” (811). However, as in many other rural kitchens, native ingredients also found a place. Her manuscript included a number of recipes for the preparation of kangaroo and detailed instructions for the butchering of the animal. Clark’s recipe for “Jugged Hare or Kangaroo” bares a close resemblance to the one that appears in Edward Abbott’s cookbook. Clark’s father and Abbott were from the same, small social milieu in colonial Hobart and were both active in the same political causes. This raises the intriguing possibility that Phillis also knew Abbott and came into contact with some of his culinary ideas. Australians consumed all manners of native ingredients, not only as a matter of necessity but also as a matter of choice. The inclusion of freshly killed native game in Clark’s kitchen would have served to alleviate the monotony of the salted beef and mutton that were common staples during this period. The distinct Australian flavour that began to appear in manuscript cookbooks like Clark’s would later be replicated in their printed counterparts. Australian cookbooks published in the last decades of the nineteenth century demonstrate the importance of native ingredients in colonial kitchens (Singley 37). The Darling Downs region had been a popular destination for German migrants from the 1850s and Clark’s manuscript contained a number of recipes for German dishes. This included one for the traditional German Christmas cake Lebkuchen as well as for various German puddings and biscuits. Clark also included an elaborate recipe for making ham or bacon in the traditional Westphalian fashion. This was a laborious process that involved vigorously rubbing salt, sugar, and beer into the leg of ham every day for a fortnight after which it is then hung to dry for a couple of days and then smoked. Katie Hume, a fellow Darling Downs resident and a close friend of the extended Clark family described feeling like a “gute verstandige Hausfrau” (a good sensible housewife) after salting 112 pounds of pork she had purchased from a neighbour (152). While, unlike their counterparts in the Barossa valley in South Australia, the Germans who lived in the Darling Downs area did not leave a significant mark on the local culinary landscape, the inclusion of German recipes in Clark’s manuscript indicates that there was not only some cross-cultural transmission of culinary knowledge, but also some willingness to go beyond traditional British fare. Many, more mundane recipes also populate Clark’s manuscript. “Toad in a Hole”, “Mutton Pie” and “Stewed Sirloin” all merit an entry. Yet, even with such simple dishes, Clark demonstrated a keen eye for detail. This is attested by her method for the preparation of a simple dish of roasted pumpkin: “Cut into slices 1 inch thick and about 5 inches long, have ready a baking dish with boiling fat—lay the slices in it so that the fat will cover them and bake for 20 minutes (by fat I mean good dripping) Half an hour will not bake them too much. They ought to be brown” (Clark 13). Whilst Clark’s manuscript is not indicative of the foodways of all classes across Queensland society, it does provide some insight as to what was consumed at the table of a well-heeled rural household. As the wife of a prominent businessman and a local dignitary, Phillis Clark would have also undoubtedly been called upon to play the role of hostess and to entertain her husband’s commercial and political acquaintances. Her manuscript also reflects the overwhelmingly British nature of colonial Australian foodways despite the intrusion of some foreign dishes. As Anne Murcott argues, the preparation and consumption of food provides a way through which individuals can express the more abstract significance of cultural values and social systems (204). The Clark household also showed some interest in producing a broad range of products in the home. There are, for example, a number of recipes for beverages including those for non-alcoholic ginger beers and flavoured cordials. They were also far from abstemious, with recipes for wine, mead, and ale included in the manuscript. This last recipe was given to her by her brother Alfred who, according to Clark, “understands brewing and therefore I think it can be depended upon” (Clark 43). Clark also bottled her own fruit, made a wide range of jams, including grape and mock melon, as well as making her own butter, confectionery, and vinegar. The production of goods like these within the home indicates the level of self-reliance in many colonial households, particularly those finding themselves far from the convenience of shops and markets. Many culinary historians argue that there exists a significant time lag between the initial appearance and consumption of a particular dish in a society and its subsequent appearance in the pages of a cookbook. This time lag can be between forty and 150 years long (Mennell 44; Mason 23). However, manuscript cookbooks reflect the immediacy of eating practices. The very personal nature of manuscript cookbooks would suggest that the recipes included within their pages were ones that the author intended to use in her own kitchen. Moreover, from the reciprocal nature of recipe sharing that is evident from these types of cookbooks it can be concluded that the recipes in Clark’s manuscript were ones that, at least in her own social milieu, were in common usage. In her manuscript Clark clearly noted those recipes which she especially liked or otherwise found useful. Many recipes throughout the manuscript have been marked as “proved” indicating that Clark had used and tested them at some stage. A number of them have also been favourably annotated as being “delicious”, “very nice”, “the best”, and “very good”. Amongst the number of recipes for “Soda Cake” that feature in the manuscript Clarke clearly indicates that “Number 1 is the best”. However, she was not averse to commenting on recipes and altering them to suit her taste. In a recipe for “A nice light Cake”, for example, Clark noted that the addition of a “little peel and currants is an improvement” (89). This form of marginal intrusion was a common practice amongst many women and it can even be seen in the margins of many published cookbooks (Theophano 186). These annotations, according to Sandra Sherman, are not transgressive, since the manuscripts are not authored “by” anyone (Sherman 121). In fact, annotations personalise the recipe and confirm the compiler’s confidence in it (Sherman 121). Not Just Food: ‘Domestic Receipts’ As noted above, Clark’s manuscript contained more than just recipes for food and drink. Many of them are “Domestic Receipts” that reflect the complex nature of running a household in rural Australia. Some of Clark’s domestic receipts are in the form of newspaper clippings and are general instructions for the manufacture of simple household products such as a “ready to use glue” and a home-made tooth powder. Others are handwritten and copied from other domestic advice books or were given to Clark by family and friends. A recipe for manufacturing “blacking for stoves”, essential in the maintenance of cast iron stoves, was, for example, culled from Enquire Within Upon Everything. Here, with some authorial intrusion, Clark includes her own list of measured ingredients to prepare the mixture. An intriguing method for the “artificial preparation of ice” involving the use of ammonium nitrate and bicarbonate of soda was given to Clark by Mrs. McKeachie, the wife of Charles Clark’s business partner. Clark also showed an interest in beekeeping and in raising turkeys, with instructions for both these tasks included in her manuscript. The wide range of miscellaneous receipts featured in Clark’s book highlights the breadth of activities that were carried out in many homes in rural Australia. A hint of Clark’s artistic side is also in evidence, with detailed instructions on how to create delicate fern impressions on paper also included in her book. As with many other women in colonial Australia, Clark was expected to take on the role of caregiver when members of her family fell ill or were injured. Her manuscript included a number of recipes for “domestic remedies”, another common trope in books of this kind as well as in their printed counterparts. These remedies included recipes for a cough mixture composed of linseed, liquorice, and water and a liniment to treat rheumatism which was made by mixing rape seed oil and turpentine with a hefty dose of laudanum. Clark used olive oil in a number of medical recipes to treat burns and scalds. As well, treatments for diphtheria, cholera, and diarrhoea feature prominently in her manuscript. The Darling Downs had been subject to a number of outbreaks of dysentery and cholera during Clark’s residency in the area (Waterson, Squatter 71). For “a pain in the chest” Clark recommended the following: “a piece of brown paper spread with tallow and placed on the chest” (69).The inclusion of these domestic remedies and Clark’s obvious concerns for her family’s health is particularly poignant given her personal history. Her family was plagued by misfortune and illness and she lost three of her ten children in a six-year period including two within just months of each other. Clark herself would die during childbirth in 1874. Sharing and Caring The word “recipe” has its origins in the Latin recipere meaning to “receive”. In order to receive there has to be, by implication, someone doing the giving. A recipe signifies an exchange and a connection between individuals. The sharing of recipes was a common activity for many women in nineteenth century Australia. Wilhelmina Rawson, Queensland’s first published cookbook author, was keenly aware of the manner in which women shared recipes and culinary knowledge. This act of reciprocity, she argued, not only helped to ease the isolation of bush living but also allowed each individual to be “benefited by the cleverness of the whole number” (14). For many, food often has a deeply private and personal component, being prepared and consumed within the realm of the home. However, food is also a communal experience and is openly shared through rituals, feasts, the contexts in which it is bought and sold, and, most importantly, reciprocal exchange. In her manuscript, Clark acknowledged a number of different individuals as the source for the recipes she included within its pages. The convention of acknowledging the sources of recipes in manuscript cookbooks functions as a way to assert the recipe’s authority and to ensure that they are proven (Sherman 122). This act of acknowledgement also locates Clark within a social network of women who not only shared recipes but also, one can imagine, many of the vicissitudes of domestic life in a remote rural setting. In her study of women’s manuscript cookbooks, entitled Eat My Words: Reading Women’s Lives Through the Cookbooks They Wrote, Janet Theophano describes these texts as “the maps of the social and cultural life they inhabited” (13). This circulation of recipes allowed women to share their knowledge, skills, and creativity. Those who received and used these recipes not only engaged in a conversation with the writer of these recipes but also formed a connection with a broader community that allowed them to learn more about themselves and the world. Conclusion The manuscript cookbook created by Phillis Clark is a fascinating prism through which to explore domestic life in colonial Australia. The recipes contained in Clark’s manuscript reflect the eating habits of her own family and those of a particular social class in Queensland. They not only demonstrate the tenacity of British foodways in Australia but also show the degree of culinary adventurism that existed in some homes. The personal, almost autobiographical nature of manuscript cookbooks also provides an intimate view in the life of its creator. In the splattered pages of Phillis Clark’s book we can read the many travails, joys, and tragedies of her life. References Abbott, Edward. The English and Australian Cookery Book: Cookery for the Many, as Well as for the Upper Ten Thousand. London: Sampson Low, Son, and Marston, 1864. ‘Advertising’. Launceston Examiner 9 Mar. 1858: 1. ‘Boullion, The Common Soup of France’. The Sydney Morning Herald 22 Aug. 1845: 4. 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Australian Enquiry Book of Household and General Information: A Practical Guide for the Cottage, Villa and Bush Home. Melbourne: Pater and Knapton, 1894. Sherman, S. “‘The Whole Art and Mystery of Cooking’: What Cookbooks Taught Readers in the Eighteenth Century”. Eighteenth-Century Life 28.1 (2004): 115–35. Singley, Blake. “‘Hardly Anything Fit for Man to Eat’: Food and Colonialism in Australia.” History Australia 9.3 (2012): 27–42. Theophano, Janet. Eat My Words: Reading Women’s Lives Through the Cookbooks They Wrote. New York, N.Y: Palgrave, 2002. Waterson, D. B. “A Darling Downs Quartet”. Queensland Heritage 1.7 (1967): 3–14. Waterson, D. B. Squatter, Selector and Storekeeper: A History of the Darling Downs, 1859-93. Sydney: Sydney UP, 1968. Wessell, Adele. “There’s No Taste Like Home: The Food of Empire”. Exploring the British World: Identity, Cultural Production, Institutions. Ed. Kate Darian-Smith and Patricia Grimshaw. Melbourne: RMIT, 2004.