Journal articles on the topic 'School: School of Art History, Classics and Religious Studies'

Methodological heritage of classical art studies is considered in this article as a basis for systematization and conceptual understanding of educational material in teaching art history in children's art school. The necessity for a teacher to know the ideas and principles of cultural-historical and formal approaches, iconology, spiritual-historical method of M. Dvořak and his followers is emphasized; an attempt is made to show their significance for pedagogical practice. The works of modern Russian art historians are considered, in which interesting methodological problems are solved and familiarization with which will be useful to teachers in theoretical and practical aspects.

Two important recent books re-examine long-standing orthodoxies which have come under fire in recent decades. Julia Kindt challenges the orthodox model of Greek religion which has put thepolisas its central organizing principle, as manifested in the work of Christianne Sourvinou-Inwood and the Paris school. The book combines methodological and theoretical discussion with a series of case studies ranging from the Archaic period to the Second Sophistic. Kindt does not deny the value of thepolis-centred model for major aspects of Greek religious life; rather, her main disagreement is that it creates simplistic polarities and leaves aside or treats as exceptions many important aspects of Greek religion. While thepolismodel sees religion as embedded in the structures of thepolis, Kindt argues persuasively for the need to conceptualize Greek religion as a series of interrelated but distinct layers. She rightly stresses the autonomy of religion as a symbolic and figural system; and she emphasizes the significance of personal experience and agency and the ways in which practices such as magic illustrate the multiple links between personal experience and agency and the religious community of thepolis. Finally, of particular significance is her challenge to the standard polarity of local versus Panhellenic and the need to adopt a wider spectrum of layers and identities.

The article examines the canon as a principle of the formation of the actor-network writing technique and its influence on the formation of the Lancaster School, which exists at the intersection of Actor-Network Theory (ANT) and Science and Technology Studies (STS). The discussion of the canon is built around the idea of canonical experiments by Robert Boyle, which served as a model for modern experimental science. As an experimental technique, the canon is contrasted with the principle of distinguishing classics of Sociology and classical texts that are part of the university canon. The (un)classical forms of organizing the mobile canon are described in the case studies by John Law and Annemarie Mol of the mobile/movable technologies. Two cases are highlighted for analysis, which are described in John Law's article “Objects and Spaces”: “Portuguese vessel” as “immutable mobile”, which maintains its shape due to movement, and “Zimbabwe pump” as “fluid technology” with a stable core and fluid border of the periphery. The analysis of each of the cases, highlighting their trajectories of movement between different texts, strategies for simplifying the analyzed situations and working with the organization of a research article, allows to describe the mobile ANT/STS canon as a result of overlapping two axes: an empirical/theoretical description and the core of control/controlled periphery. Thus, it is shown how the movable canon acquires a stable core in Law's article “Objects and Spaces” and becomes the basis for the further development of the Lancaster School.

In the topic of this article, it is the early modern intellectual history; it will be offered at first an overview of the approaches of the parallelism between the researches of words, pictures, and gestures, based on the author's personal experiences as a researcher of this epoch. The first examples will be several loci of English classics, John Milton, and John Locke; then it will be mentioned the significance of the methodology of the “Iconic Turn,” with the concept of “pictorial (speech) act”, and with the history of religious art. At the end of this overview it will be mentioned briefly the methodological contribution of the Cambridge school of intellectual history, and that of the Geschichtliche Grundbegriffe of Reinhart Koselleck. Second part of this article will offer a historical example from the early modern age. The first one is an analysis of several details of Thomas Hobbes’ ambivalent relationship with the antique tradition of rhetoric, and their consequences for the visual sphere. Šio straipsnio tema – moderniųjų laikų pradžios intelektualinė istorija. Pirmoje jo dalyje pateikiama tarp mokslinių tyrinėjimų, skirtų žodžiams, vaizdams ir gestams, susiklostančių paralelių traktavimo bendroji samprata. Vienoks ar kitoks jų traktavimas priklauso nuo autoriaus, kaip toje epochoje gyvenančio tyrėjo, asmeninių patirčių. Pirmieji pavyzdžiai – tai keletas anglų klasikų, tokių kaip Johnas Miltonas ir Johnas Locke'as. Paskui pabrėžiama „vaizdinio posūkio“ metodologijos „vaizdavimo (kalbėjimo) akto“ koncepto, religinio meno istorijos svarba. Galiausiai trumpai paminimas Kembridžo mokyklos indėlis į intelektualinę istoriją ir Reinharto Kosellecko Geschichtliche Grundbegriffe. Antroje straipsnio dalyje pateikiamas istorinis pavyzdys iš ankstyvosios moderniosios epochos. Pirmiausia imamasi Thomaso Hobbeso ambivalentiško santykio su antikine retorikos tradicija keleto detalių analizės, o paskui aptariama šio santykio įtaka vizualumo sričiai.

Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.

Around the middle of the Ming Dynasty, with the Chinese language becoming the mother tongue of Muslims in mainland China, the religious education of Chinese Muslims faced a dilemma. Meanwhile, a rejuvenated educational system was established by Hu Dengzhou (胡登洲) in Shaanxi during the Wanli (萬歷) period. This system, which was called Jingtang education (經堂教育) after a long time, has epoch-making significance in the history of Chinese Islamic thought. Through Hu Dengzhou’s disciples, this educational system gradually spread to North China and Jiangnan, where Shandong School and Jinling School were formed. Sufism played an important role in the two early schools’ teaching arrangements and academic activities. In the middle and late Qing periods, Shaanxi School and Yunnan School emerged one after another. Scholars of these two schools paid more attention to rational sciences represented by philosophical theology and attempted to use theological theories to explain Sufi texts. Overall, the establishment of Jingtang education was not only an urgent requirement for Muslims in mainland China to explain Islamic classics in Chinese, but also a fruitful attempt to replace official schools with private schools. The early Shandong School and Jinling School attached great importance to Sufism for two reasons: (1) Sufism became a prominent study after the 12th century, and most of the teachers of early Jingtang education had a close relationship with the Sufis. (2) These scholars live in a Chinese cultural background with Neo-Confucianism as the mainstream, and there are many commonalities between Sufism and Confucianism, which helps Muslim scholars to use Confucian terms to explain Islamic teaching. In the later period, Shaanxi School and Yunnan School turned to pay more attention to philosophical theology for two reasons: (1) In order to deal with the emergence and ideological differences of Chinese Islamic sects in the mid-Qing era. (2) This change was not unrelated to the influence of the Shixue (實學) thought trends in China, especially the Qianjia School.

Abstract For the majority of the patristic tradition, the Psalms are full of prophetic references to Christ, justified by New Testament citations and creative reading strategies. But for two writers from the so-called Antiochene school, Diodore of Tarsus and his student Theodore of Mopsuestia, this is not the case; New Testament use of the Old Testament is not prescriptive and allegory must be avoided at all costs. Diodore and Theodore only recognize four psalms as messianic: Ps 2, 8, 45, and 110. But not only do both theologians read Christ into these psalms, they do so in a manner that is unusual compared to how they approach the rest of the Psalter. This essay seeks to shed light on the reasons underlying these seeming exceptions. Pushing back against the now outdated paradigm of the Antiochene school as purely historical or literal exegesis, this essay will argue that both Diodore and Theodore are motivated not primarily by exegetical method, but more so by theological and textual concerns. More specifically, the readings of these four psalms are shaped by the Antiochene Christological vision found in Heb 1–2, which results in the prioritization of this text over the psalms in question.

The article presents the results of the analysis of the main directions of the reform of higher technical education of the USSR in the 1930s and their features in Belarus. On the basis of archival materials introduced into scientific circulation for the first time, the specifics of the development of the higher technical school of Belarus are revealed on the example of the Belarusian State Polytechnic Institute (Minsk) and the Belarusian State Mechanical Engineering Institute (Gomel). It is noted that the short period of restructuring of higher education on the principles of Western European approaches soon showed its inconsistency in the USSR. Huge territories, large-scale projects of industrialisation and collectivisation required not a narrow specialist, but an engineer capable of solving complex problems. Agricultural engineering already in 1930 began to abandon the use of Western European models of equipment, which, due to their orientation to the farmer in conditions of the huge size of collective farms and state farms, were unproductive and ineffective. These circumstances contributed to the change in the concept of higher education, which was oriented in 1932 to the consolidation of universities and specialties. The reforms carried out were enshrined in the USSR Constitution of 1936, which allowed the higher school to acquire those features that distinguished it in a favorable light in the world – accessibility, democracy and fundamentality. The liquidation of the All-Union Committee on Higher Technical Education in the same year and the creation of the All-Union Committee onHigher Education meant the completion of the process of building a higher school in the USSR.

In the spring of 1868, sixty-eight students gathered to become the first matriculants of the Illinois Industrial University. They had responded to a summons by the state legislature to engage in a bold new mission of publicly funded mechanical and industrial education, a move which would, Illinoisans hoped, bring lavish prosperity to their fellow citizens and themselves. Like other colleges of the period, utilitarian and democratic rationales motivated the I. I. U. leadership to establish their school. Quoting their commission by the Morrill Act, the trustees said the university's “chief aim” was to educate “the industrial classes” by teaching “such branches of learning as are related to Agriculture and the Mechanic Arts, and Military Tactics, without excluding other scientific and classical studies.” And yet, there was an even more radical and compelling vision among the I.I.U. faithful, one which was distinctively theological: “The hope of the Trustees and Faculty,” they said, “is that the Institution will produce … men of Christian culture … able and willing to lend a helping hand in all the great practical enterprises of this most practical age.”

AbstractThe tendency to isolate aesthetics in the study of fine arts and in basic fine arts research as well as through the aesthetics of empathy goes back to post-Kantian philosophy. This way of thinking, as far as it was of particular interest to Cohen, dominated aesthetics and art theory during the time of the publication his Ästhetik des reinen Gefühls (1912). In the Marburg School itself, the systematic basis of aesthetics began to shift in 1912.

The article tells about a textbook on the history of the Ancient world, written by A. I. Nemirovskii in the early 1960s. This textbook participated in a competition for secondary schools, but lost to F. P. Korovkin’s textbook, which was released in a multimillion circulation. Nevertheless, A. I. Nemirovskii’s textbook was published in 1962 with a circulation of 300 thousand copies as a textbook for evening schools. Due to the fact that the author’s manuscript has survived, a comparative analysis of the initial text and that which was published in 1962 is possible. A. I. Nemirovskii made considerable efforts to make his textbook attractive to the reader, for example, he himself selected one and a half hundred illustrations, which were replaced during publication with standard illustrations prepared by the publishing house. Comparison with a textbook for schools published at the same time by F. P. Korovkin, shows that the degree of unification of the narrative in Soviet historiography was high, especially in the field of teaching history, and some original moments belonging to the pen of A. I. Nemirovskii were almost completely leveled out during editing. Despite the originality of the figure of the author himself, in his textbook one cannot notice the desire to go beyond the unified narrative of Soviet historiography developed by that time.

Kucha was the major Buddhist center on the Northern Route of the Silk Road, and well known for being dominated by the Sarv?stiv?da school for most of its history. Replacing the j?taka story, the avad?na story (story of causation) became the major theme depicted on the ceiling of the central-pillar caves in this area (fifth–seventh centuries). Turfan is another important cultural center in Central Asia where Buddhism once flourished. The pra?idh?na (or ‘vow’) painting, which was based on the Bhai?ajyavastu, a vinaya text of the Mulasarv?stiv?da school, was a unique subject normally appearing on the walls of Buddhist caves in Turfan (ninth twelfth centuries). Both the avad?na and pra?idh?na stories are derived from j?taka stories, with significant shifts of focus, as well as of the format of the narrative. In this paper, through studying the avad?na and vow paintings at Kucha and Turfan, and comparing them with j?takas in early Buddhist art, I attempt to show how j?taka stories were transformed for different doctrinal messages of Buddhist teaching in some late ‘H?nay?na’ schools, namely Sarv?stiv?da and Mulasarv?stiv?da, and how the visual representations mirror the narrative styles in Buddhist texts.

Abstract A hundred years ago (1917/1918) Wilhelm Bousset broke new ground with the thesis that the Acts of Thomas showed traces of Manichaean editing, especially in the Hymn of the Pearl, perhaps the most famous and the most beautiful poem in the Syriac language. In this poem, according to Bousset, the stages in the life of the prince, the protagonist, strangely match the stages in the life of Mani, the founder of the Manichaean religion. The present article revisits this thesis, which enjoys as much interest as ever and is accepted by several well-known contemporary scholars. It takes account of older witnesses (such as the traditions of the early church) while introducing new arguments based on a consideration of original Manichaean literature and striking features of language and style. In a kind of panoramic view, it shows that the Hymn of the Pearl was indeed subjected to Manichaean editing: motives and themes from older traditions were adapted to refer to Mani and supplemented with new interpretive material. Taken together, the old and the new observations confirm Bousset’s thesis that the son of the king in the Hymn of the Pearl was identified with Mani and that an editor (or a school of editors) reworked the poem to make it point to him.

This paper first traces the general influence of Ernest Barker’s undergraduate training in Oxford’s School of Literae Humaniores on his later work on ancient political thought, and in particular shows how Idealism conditioned his view that the major ancient texts were perennially relevant and also applicable to practical affairs. The second part of the paper is based on a letter that Barker wrote to E.R. Dodds in 1953 critical of Dodds’s negative perspective in The Greeks and the Irrational on the religious culture of the early centuries of the Roman Empire. This document offers a revealing insight into the gulf between Barker’s Christian values and optimistic view of the evolution of the classical tradition and Dodds’s pessimistic secularism, which had its theoretical basis in ideas drawn from social psychology which Barker had always despised.

Katoba culture as one form of local wisdom Muna society contains many positive values that need to be preserved and developed. The positive values include the religious, social, political, economic, and historical values. This study addressed the relating socio-cultural values learning with appropriate conceptual of Social Science for Elementary school curriculum. Because one of the goals of this study is to develop learning materials Social Science- Elementary school to enhance the knowledge, attitudes and skill students against local culture (Katoba) in effort to mastery the subject matter of Social Science- Elementary school. Therefore, in the development learning materials will be integrated with relevant local cultural values. The relevant local cultural values (Katoba) curriculum of Social Science- Elementary school is the social values, culture, economics, politics/history and art/creativity and religion. In addition, the integration of social values in learning katoba cultural, Social Science through cooperative approaches with clarification in terms of the value of learning according to permendiknas No. 41/2007-th model is relevant to theories of learning and the learning model is selected. Through the stages of Social Science learning model development that are expected to improve the results of the study (koginitif), strengthen the appreciation and attitude of the students towards the local culture (katoba). This emphasis on the process of the learners how to learn through reconstruction, find, acquire knowledge and develop social values of cultural katoba, that is believed or understood and served as a pattern of behaviour guidelines in social life. The learning process is in line with the emphasis on the ideal character education of self-reliance human (moral autonomy) in a neighbourhood, community, nation, and state.

The purpose of the study, carried out on the basis of numerous unpublished documents, is to present the various useful activities of Alexei Petrovich Bogolyubov, a painter and an Actual State Councilor in the Naval Ministry. A.P. Bogolyubov began his service as a midshipman on January 8, 1841, and worked actively in the Naval Ministry for about 55 years. More than 90 documents from various funds were found in the Russian Archives of the Navy, including the artist’s autographs. The recently discovered album of original drawings made by the artist in 1862 and 1864 is of greatest value. Professor of marine painting, a member of the Council of the Imperial Academy of Arts, A.P. Bogolyubov trained talented apprentice artists who continued his work at the Naval Ministry and brought fame to Russia at numerous international art exhibitions. He performed important practical work (visual drawings of the shores, entrances to the ports and skerry-type channels) and for many decades made it safe for the sailors to navigate through the Baltic Sea and the Gulf of Finland; he created the Art Museum named after Radishchev and the Art and Craft School in Saratov; by the order of the emperors Nicholas I, Alexander II, Alexander III, Bogolyubov painted about a hundred of marine battle scenes covering the history of the Russian Fleet from its origin under Peter the Great up to the visit of the Russian squadron to Cherbourg in 1896. New archival documents testify to all the glorious deeds of A.P. Bogolyubov

Nowadays the theme of the scientist’s place in the situation of ideological restrictions and censorship is still relevant. So, from this point of view, it is very important to speak about humanities in the USSR and separate propaganda and scientific research. Despite the politicization of the discourse, not all religious studies of the Soviet period were the product of agitation and propaganda of atheism. Materials on the history of Orthodoxy in the «Yearbook» of the Museum of the History of Religion and Atheism are considered as an example of a scientific approach. The aim of this research is to determine the main topics and directions of research on the history of Orthodoxy in articles of periodical «Yearbook» of the Museum of the History of Religion and Atheism. Being an important part of the scientific potential of the St. Petersburg school of religious studies, the «Yearbook» covered topical issues on the history of religion in articles by the classics of Russian religious studies. The author uses the method of analytical study of sources and the method of comparative historical analysis to study the problem. As a result, we can conclude that, 1) depending on the object of research, the articles can be divided into thematic groups, 2) and the «Yearbook» itself was the personification of the creative and scientific work of the Museum of the History of Religion and Atheism of the USSR Academy of Sciences. This suggests that we can look at Soviet religious studies through the wall of propaganda and discover science itself.

The article deals with the topic of the school and parish catechesis in the Federal Republic of Germany. The author presents the legal basis of the catechesis, in the Church and in the State. The catechetic teaching is defined in the Code of Canon Law. Information on this can be found in the second chapter of the title “The Ministry of the Divine Word” in this code. After a brief outline of the legal basis the author proceeds to presenting the history of religious education in Germany. Its origins lie in the 16th century at the time of Reformation and Counter-Reformation. As Rainer Winkel stated, when one studies the history of education, there are seven fields of education to be distinguished: 1. pedagogy, 2. religion, 3. ethics, 4. economics, 5. science, 6. politics, 7. art. Each of them is based on the development of one of seven “athropina”, i. e. features that are characteristic for human beings. All in all, it can be said that the religious education must be an integral part of all-round education. In a further part of the article the author describes the current catechetic teaching in Germany. Since the 1960s we can observe a development from catechesis to religious studies in the religious education at school. Instead of forming and educating pupils religiously, knowledge of religions is imparted at school. It is taught that there are many equally valid systems of values. The truths of faith and the sacraments are omitted during lessons. Above all, it can be observed that the German society is misinformed about the sacrament of penance. Besides, the passion of Christ, its meaning for a Christian and the role of the Holy Virgin Mary are not among the topics in school. On the other hand, parish catechesis is not very popular. The reason for this is probably the disappointment of the young people about the institutional character of the Church. In addition, there is a high percentage of atheists (especially in the former East Germany). Therefore, the author claims that there is a need of a renewed evangelisation instead of catechesis in Germany, in order that people believe in Jesus and the Mother of God again.

Цель статьи - анализ категорий новизны и свободы как факторов, оказывающих определяющее влияние на архитектурное формообразование. Исследование базируется на методе Венской школы искусствознания, емко сформулированном в тезисе «История искусства как история духа» и использующем религиозно-философский контекст как основу анализа формообразования. Такой метод позволяет выявить принципиально различный подход к феноменам новизны и свободы в традиции и современности и углубляет представления о том перевороте, который осуществлен современной архитектурой. The purpose of this article is to analyze the categories of novelty and freedom as factors that have a decisive influence on architectural shaping. The research is based on the method of the Vienna school of art studies, succinctly formulated in the thesis «The history of art as the history of the spirit» and using the religious and philosophical context as the basis for the analysis of architectural shaping. This method allows us to identify a fundamentally different approach to the phenomena of novelty and freedom in tradition and modernity and deepens the understanding of the revolution that modern architecture has made.

This article is a multidimensional study of Russian symbolism as one of the most prominent 20th century literary schools that had a major impact on the development of Russian modernism. The current state of art in the field of modernism is relevant in the context of the metamodern paradigm. The article specifically focuses on the figure of Vyacheslav Ivanov, symbolist poet, leading theoretician of this literary school, and religious thinker who played important role in the development of the so-called Silver Age in Russian literary history. The purpose of the article is to map out methodological approaches, representative of contemporary studies of Vyach. Ivanov. The study bears on the corpus of the most interesting works on Ivanov in the past decades. It demonstrates that besides traditional philological readings, there are a number of novel approaches to the poet’s heritage based on philosophical, linguophilosophical, cultural, religious-axiological, psychoanalytic, hermeneutic, intertextual, or comparative perspective.

IntroductionAccording to modern scholars (N. Maslova, B. Astafiev), one of the important reasons for the global planetary crisis, including modern educational system in particular, is violation of the conformity of nature principles in the process of perception and cognition of the world, which is conditioned by the advantages of the development of logical and rational thinking and insufficient development of figurative, spiritual-intuitive thinking in the contemporary school of all levels.The modern system of education at all levels (school, higher education, postgraduate studies, and doctorate) is aimed primarily at the development of mechanisms of the left hemisphere that are rational, logical thinking, and analytical perception of reality.Such a one-way orientation leads to inhibition of right-sided processes, does not contribute to the development of creativity, disclosure and activation of the spiritual and intuitive capabilities of the individual, as well as to alienation of individual from the World, loss of personal sense of integrity, unity with the World; that is, to the disharmony of individual with his/her own nature and environment.Personal development of an individual in modern conditions takes the form of "Homo technicus" ("technical person"), "Homo informaticus" (“informational and technogenic person”), "Нomо соnsumens" (“person who consumes”), "Reified man" ("material surplus person"), "Nomo Festivus" ("person who has fun") (Butenko, 2017). As a result, a person with a technocratic, rational thinking, pragmatic and consumer attitude towards the world is brought up, and as a consequence, harmony in the "man-man", "man-nature", "man-society", "man-universe" systems, and correspondingly, the equilibrium in the integrated information-energy system interaction "Man – Society – Earth –Universe" are violated.Approach In contemporary education of all levels, high ontological and existential goals are not set, and not enough attention is paid to the spiritual and mental health of the individual, in particular to problems of spiritual self-knowledge, self-development, self-regulation and self-realization, thus leading to the formation of consumer psychology, dominance of pragmatic values, loss of spirituality, upbringing of a human – destroyer, a soulless person, but not a creator.One of the ways out from the planetary global crisis in the area of a contemporary education in particular, is the noosphereization of education, the imperative task of which is formation of the noospheric individual, actualization of his/her spiritual and intuitive potential, training of the noosphere integral harmonious bioadequate environmentally healthy mindset, which is based on a conscious total ownership of logical (left cerebral hemisphere) and creative, spiritual-intuitive (right cerebral hemisphere) thinking that, due to correspondence with both huamn nature and the laws of the cosmoplanetary world, will provide the individual with possibilities to adequately and fully (at the information and energy levels) perceive and recognize the surrounding world, and to interact with it on a spiritual basis.Results and Discussion The problem of intuition always remains relevant throughout the history of mankind. Among the scholars of the late XX century - beginning of the XXI century the problem of intuition and harmonization of the activity of the left and right hemispheres of the brain has been studied by such researchers as G. Kurmyshev, N. Maslova, Osho Bhagwan Sri Rajneesh, I. Smokvina and others. Modern psychophysiological science explains the nature of intuitive thinking and cognition: the human mind combines the ability to integrate and develop both intellectual and intuitive knowledge that modern scientists associate with the activity of the left and right cerebral hemispheres. According to psychological science, the two hemispheres of the brain cognize and reflect the surrounding world differently and, thereafter transform information in their own ways. The left hemisphere "sees" objects as discrete, separated; it is responsible for logic and intellect, verbal thinking, application of sign information (reading, counting, language), and is characterized by the ability for logical, rational, mathematical, and scientific thinking. The right hemisphere binds objects into a single whole; it is responsible for emotions, creative thinking, intuition (unconscious processes). Thanks to the right hemisphere, a holistic image of the world is formed, and the left hemisphere gradually collects the model of the world from separate, but carefully studied details. "Left- hemisphered" thinking is associated with the ability for consistent, step-by-step cognition, which has respectively analytical rather than synthetic character. "Right- hemisphered" thinking is linked to the ability for integral, voluminous and complete cognition, space spatial immediate perception of the world in all of its information-energy interrelations and interactions.Logic and intuition, rational and intuitive paths – are different aspects of the unified process of cognition, and if the intellect can be regarded as the earthly beginning in humans, then intuition – is a spiritual primary source, a phenomenon of nonlinear, unearthly thinking, the logic of the Higher Being, the logic of the Almighty. As was very wittily pointed out by Osho Bhagwan Shree Rajneesh, logic – the way our mind cognizes our reality, intuition – is how the spirit passes through the experience of reality (Maslova, 2006). Therefore, logic and intuition are two mutually conditioned mechanisms of scientific cognition that supplement and do not exist in isolation from one another. If the function of intuition in this interaction lies in creative discoveries, inventions, awareness of the true essence of things and phenomena, then the task of the scientific method, acting as an assistant of intuition, is to endeavor to comprehend new ideas, explain them from the point of view of earth science at the logical level, and "adapt" to our reality.Given this, rational and intuitive paths must complement, enrich and explain each other, interact in sync, in synthesis.Intuition is an organic component of the spiritual and psychic nature of the individual. Therefore, the problem of the development of intuition and harmonization of the discourse-logical and spiritual-intuitive components of thinking is extremely important at all levels of contemporary education. This is especially true for student youth, since students are the future spiritual and creative potential of the country, and therefore it is extremely important to reveal and develop their spiritual and intuitive abilities, to harmonize their mental-spiritual sphere, which promotes spiritual self-healing of both the individual and the environment, and harmonization of relations in the world. In the context of the modern information and energy paradigm, intuition is considered as a special mental state of a highly spiritual person, in which he/she deliberately initiates informational and energetic contact with any object of the Universe, in the physical or subtle world, "connects" to its information field, "reads out", "decrypts" and analyzes necessary information. This information-energy interaction is perceived by the individual as the process of connection, merging with the object being studied, which enables instant cognition of its true essence (Smokvina, 2013). As the analysis of the literature on the research problem testifies, if the activity mechanisms of the left hemisphere of the brain are relatively studied in modern science, the problems of the individual’s intuitive updating potential and harmonization of the activity of logical and intuitive cognitive processes are being investigated.According to many scholars, the ability for intuition is inborn in every human; however, unfortunately, in most people it is in a latent state. And only due to intense conscious work of the individual regarding their own spiritual self–cognition and self–perfection, one can discover and develop personal spiritual and intuitive abilities.According to the results of our theoretical study the general conditions contributing to the disclosure and development of intuition are as follows: (Tyurina, 2017) • Ability to cope with one’s own passions, emotions, feelings, thoughts, and achievement of the state of internal silence, voicelessness;• Formed self-motivation for spiritual self–cognition and self–perfection;• Achievement by the individual of the corresponding spiritual level: the higher the spirituality of the human, the more clearly his/her ability is expressed to obtain a higher spiritual knowledge: information and energy interaction, contact with higher levels of psychic reality;• Conscious desire, willingness of the individual to use intuitive cognition that helps overcome information-power resistance, the barrier that exists between a subject and an object, helps create harmony, assonance, interaction with the object being studied;• Intuitive human confidence: deep inner belief in personal intuitive capabilities and ability for intuitive cognition and self-cognition;• Humanistic orientation of the individual and his/her internal psychological properties such as: altruism, active love for all living beings on the Earth, empathy, ability to express compassion, care, and self-consecration, conscious desire to live in harmony with oneself and the world;• Nonjudgmental practice, which consists of the ability of a person to abandon assessments, classifications, analysis, which creates favorable conditions for immersion into the information space around us, makes it possible to connect to the information-energy field (biofield) of the object being studied;• Sense of inner unity with the world, awareness of oneself as a part of mankind, of the Earth, of the Universe, and a feeling of deep responsibility for the world and for ourselves in the world;• Striving for personal self-realization for the benefit of the cosmoplanetary world.In our opinion, the ways of actualization of intuition and harmonization of the activity of logical and intuitive components of the process of cognition should be attributed to the following (Tyurina, 2018):• Concentration, concentration of human consciousness of the subject being studied, deep and thorough knowledge of it.Psychological mood, deep concentration, focus of human consciousness on the subject of research lead to intuitive penetration into its essence, comprehension of the subject of study as if "from within." An intuitive act of cognition is the result of a huge concentration of all human efforts on a particular problem, deep and thorough knowledge of it, mobilization of all its potencies. In particular, for almost 20 years, D. Mandeleev worked continuously on the systematization of chemical elements, and only after that he "saw" his periodic system of elements in his dream. At academician M. Shchetynin school students spend 21 days (6 lessons daily) studying only one academic discipline for the purpose of deep penetration into its essence - information-energy merger, connection with the subject being studied, into a single whole, that is, achieving an intuitive level of comprehension.• Spiritual practices (prayer, meditation).Prayer and meditation are effective ways of spiritualizing a person, awakening and activating his/her intuitive potential. Through prayer, meditation a person learns to adjust to nature and Cosmos, eternity and infinity, the World Harmony, reaches consonance with the World, and permeates its inner essential depth with the heart.It is believed that it is prayer that promotes the spiritual purification of both the human soul and the surrounding world. During a heart-warming prayer a human comes to enlightenment and spiritual enlightenment, intuitive enlightenment.In the process of prayer, meditation, the right and left hemispheres of the brain begin to work synchronously, which makes the brain function in resonance with the Field of Consciousness or the Field of Information - Noosphere.• Spiritual processing of the corresponding religious, spiritual and philosophical sources, fine arts, classical music, information-energy interaction which raises the spiritual level of an individual, awakens his/her intuitive abilities.Spiritual literature is an important way of discovering and developing intuition and harmonizing the activity of intuitive and logical components of thinking, since information and energy interaction with spiritual literature contributes to individual’s spiritual growth, disclosure and development of intuition, and harmonization of personal intuitional and intellectual sphere.It should be noted that various forms of art, in particular, visual and musical, play a special role in the process of disclosure and development, intuition, harmonization of the logical and figurative, spiritual and intuitive perception of reality.The spiritual potential of art is, first of all, that in itself, creating spiritual values, spiritualizes a person, and interprets personality as a phenomenon of a global planetary-cosmic nature. True art has an ecumenical, cosmic dimension. The best masterpieces of world art transfer the idea of unity of humans with the world, their harmonious interaction.The creativity of great artists contributes to the disclosure and development of the personality's spirituality, the heart's perception of the world, the cultivation of the Cosmic Worldview, and directs the person to high ideals.Musical art is one of the most important means of revealing and developing intuition, harmonizing its spiritual and intuitive basis.The results of research by modern scholars show that classical, spiritual music activates the spiritual-intuitive sphere, harmonizes the person, gives a sense of joy and rest, and helps to restore spiritual and mental balance.It has been scientifically proven that classical musical compositions based on the perfection of harmony and rhythm, especially the works of J. Bach, L. Beethoven, J. Brahms, A. Vivaldi, G. Handel, F. List, F. Mendelssohn, A. Mozart, S. Rakhmaninov, O. Scriabin, P. Tchaikovsky, F. Chopin, F. Schubert, R. Schumann and others have a positive effect on the individual on the spiritual, mental and physiological levels, since classical music relates mainly to the natural rhythms of the human body. This music causes not only positive emotions, but also represents a powerful energy force that inspires humans and the world: makes a person more perfect and the world more beautiful.Consequently, fine arts, classical music, contribute to the disclosure and development of the spiritual and intuitive potential of the individual, to harmonization of his/her intuitive-intellectual sphere; they help the person to grow spiritually and be filled with high spiritual energy, accordingly, to change, and improve the natural and social environment.- Bioadequate REAL-methodology of noosphere education (N. Maslova), in which stages of relaxation (accumulation of information, work of the right creative hemisphere in a state of rest), alternating with stages of activity (training of the left hemisphere: logic, analysis, synthesis of information) are presented. As a result, the work of the left and right cerebral hemispheres is synchronized, which promotes harmonization of consciousness, carries a beneficial influence on the spiritual, mental, social and physical health of the student's personality.The fundamental characteristics of the bioadequate method of noospheric education are:1. Health preserving - does not violate the nature of perception, processing and preservation of information.2. Corrective - restores the natural genetic sequence of work with the information and health of the student and the teacher.3. Developing - improves the body's reserves.4. Harmonizing - integrates all systems of the body and personality (Vernadsky, 2002).According to studies of the neuropathologist I. Smokvinova, PhD, bioadequate methods of noosphere education, taking into account the physiological and informational and energy resources of the individual, contribute to the harmonization of the work of the left and right cerebral hemispheres, awaken higher feelings, recharge with life energy, teach the ability to direct vitality to the realization of one’s own higher potential, which also has a beneficial effect on the spiritual, mental and physical health of the individual. Moreover, due to the application of a bioadequate technique, psychological and physiological stress is eliminated, and a positive emotional mood is created that heals the body and the student's psychics (Osho, 2000). According to N. Maslova, holistic thinking contributes to the acquisition of basic energy, biologically adequate to livelihoods programs (Kurmyshev, 2013).Many independent groups of scientists (teachers, psychologists, physicians, biologists) have proved that noosphere education, harmonizing the left and right hemispheres thinking, has a healing effect on the body of both the student and the teacher, contributes to the development of natural creativity.Practical valueResults of our study can be used in lectures and practical classes with students in medical psychology, psychology of creativity, social, general, pedagogical psychology, pedagogy (sections of didactics, spiritual and moral education), sociology, philosophy, etc.ConclusionsThus, the actualization of the spiritual and intuitive potential of the individual and the harmonization of the activity of the left and right cerebral hemispheres stimulates the disclosure of spiritual and creative abilities of the individual, fills the individual with spiritual energy, and the person becomes a source of spiritualization of himself/herself and the world, thus contributing to the spiritual and psychological improvement of society, humanity, and civilization in general, since at the information-energy level, "Man - Society - Earth - Universe" this is the only cosmoplanetary organism, all parts of which are mutually interconnected, interact and stipulate with one another. We consider that it is important in the future to develop appropriate special disciplines for all the sections of modern school and keep working in the direction of developing and incorporating into the content of the curricula, relevant pedagogical technologies aimed at the disclosure and development of the intuitive-mental sphere of the individual

As the number and interests of charitable institutions expanded throughout Britain during the eighteenth century, so special fund-raising events, anniversary celebrations, and meetings multiplied. During 1775, for example, the major metropolitan charities and a plethora of minor benevolent societies courted middle- and upper-class Londoners with invitations to concerts and exhibitions. Men could support various hospitals and other good causes by dining in taverns and City Livery Halls in company with civic and ecclesiastical dignitaries, even noble and royal dukes. Both men and women might attend charities' anniversary services, ornamented with special music and a sermon, choosing among dispensaries, hospitals, lying-in charities, religious societies, and various efforts to reform and reclaim the poor for public benefit. On Sundays, armed with tickets, special prayer books, and even keys to their rented pews, women and men might attend the chapel of a philanthropic institution. Alternatively, they could listen to a fund-raising sermon and watch charity-school children arrayed in the gallery of a parish church. Toward the end of the year, they might pay half a guinea each to hear Handel's Messiah in the Foundling Hospital Chapel or go to Covent Garden and Drury Lane to watch tragedies and farces. Charitable activity thus extended beyond churches, alms, and sermons into the theater. It spilled onto the streets as gentlemen processed to dinner; it accompanied art and music. Conversely, waves of fashion drove visitors to one philanthropic institution or another to see deserving recipients, hear a particularly popular preacher, or to be observed themselves.

The author analyzes the prerequisites for the formation of a theological and philosophical school, founded in 990 by Bishop Fulbert in Chartres, which flourished during the years of the Episcopal ministry of Yves of Chartres (1090–1115), a recognized intellectual center of Western Europe. The role of the Chartres Cathedral School as a citadel of metaphysical, cosmological and natural-scientific Platonism in the era of early scholasticism is revealed. The philosophical orientation of the Chartres school (orientation to the ideas of Neoplatonism), as shown in the work, is the result of a combination of the ideas of Plato, aristotelism, stoicism, pythagoreanism, Eastern and Christian mysticism and religion. The body of ideas characteristic of the Neoplatonism tradition is analyzed, the account of which is essential in understanding the specifics of the Chartres school ideological platform: the ideas of a mystically intuitive knowledge of the higher, the stages of transition from “one and the universal” to matter, the idea of comprehension of pure spirituality. The thesis is substantiated that the time of the highest prosperity of the Chartres school, its highest fame is the XII century, which went down in the history of civilization as the era of the cultural renaissance taking place in France. The specificity of the 12th century renaissance, as shown in the study, lies in the growing interest in Greek philosophy and Roman classics (this also determines the other name of the era – the Roman Renaissance), in expanding the field of knowledge through the assimilation of Western European science and the philosophy of the ancient Greeks. The thesis in which the specifics of the entry of Greek science into the culture of Western Europe is also identified. This entry was carried out through the culture of the Muslim world, which also determined the specifics of the cultural renaissance of France of the XII century. Radical changes are revealed that affect the sphere of education and, above all, religious education; the idea of reaching the priority positions of philosophy and logic is substantiated – a situation that has survived until the end of the Middle Ages. This situation, as shown in the work, was facilitated by the rare growth rate of the translation centers of Constantinople, Palermo, Toledo. It is shown that scholasticism in its early version is oriented towards religious orthodoxy. In the teaching of philosophy, the vector turned out to be biased towards natural philosophy, which was due, as shown in the work, to the spread of the ideas of Aristotle and Plato. In its educational program, the school synthesized the teachings of Plato and Aristotle. Elements of natural philosophy are inherent in the works of Bernard of Chartres, Gilbert of Poitiers, Thierry of Chartres representing the Chartres school. Deep studies on the problem of universals ensured the invasion of logic in the field of metaphysical constructions of the Chartres school.

AbstractThe visual environment circumscribes the qualities of education both in the present day and in the Middle Ages and in both Jewish and secular education. This was true in the 1980s when Margaret Olin and I met teaching at the School of the Art Institute of Chicago and was true in medieval Rouen.In 1976 excavations in the courtyard of the palais de justice in Rouen uncovered the lower story of a building with Jewish graffiti that has been associated with Jewish learning. In the late eleventh and twelfth centuries Rouen was an important Norman center with a substantial Jewish community. The structure, now called the Maison Sublime, was associated with Jewish learning. Norman Golb has posited that the building was a yeshiva. While other scholars such as Bernhard Blumenkrantz and Dominique Pitte, have posited that the building may have been a synagogue or house, most believe it had an association with education. The Maison Sublime was built by the same masons who built the nearby Christian Abbey of Saint-Georges-de-Boscherville. Boys would also have learned writing as part of their Hebrew education. Thus the medieval Jewish community was educating their students in what would have been recognized as an up to date environment in twelfth-century Rouen.

Abdul Rahman Munif and Azizi Haji Abdullah were famous in their Arab and Malay communities for the abundance of their creative works, which were well received, and most of them were printed in many editions and some of them were translated into many languages of the world. The two novelists shared the same attitudes towards society and its reality. Their opinions, which arouse the interest of society and occupy public opinion, were found in their literary works. Each of them played an important role in raising the literary prose genre, especially the art of the novel, and contributed to revealing the realities of Arab and Malay society through their creative writing in novels. Both of them became famous in the Arab countries, and in Malaysia in particular, and in Southeast Asia in general. In addition, their novels left deep traces in the hearts of readers and attracted the attention of critics alike. Based on this, the researchers decided to study and analyze this issue, so they decided to compare the two novels: “Umm al-Nuzur (The Mother of the Vows)” and “Seorang Tua di Kaki Gunung (The Old Man on the Mountainside)” through the authors’ presentation of social ideas and cultural traits. The researchers rely on the approach of the American School of Comparative Literature, which focuses on the parallels and contrasts between the two novels. The study aims to show the creativity of the two novelists in formulating their novels and to reveal the points of agreement and differences between them. The study concluded that the two novels carry different social ideas and civilized features and there are common ideas among the novelists, who talk about the emergence of the rural environment and the duality of the idea between the two generations; parents and children, while the ideas on which they differ: the issue of marital authority, and the behaviour of religious men. We see that Munif dealt with the issue of marital authority; while Azizi revealed the topic of relationships based on affection and respect between spouses. Munif's stinging criticism of the misbehaviour of religious men appeared through his denigration, while Azizi praised the good reputation of a Muslim who adheres to the Islamic faith in his novel.

Now is an appropriate time to reconsider the historiographical benefit that a comparative study of the East Syrian (“Nestorian”) schools and the Babylonian rabbinic academies may offer. This is attributable both to the recent, rapid increase in scholarship on Jewish–Christian relations in the Roman Empire and late antiquity more broadly, and to the return by some scholars of rabbinic Judaism to the issues of a scholarly exchange of the late 1970s and early 1980s about the nature of rabbinic academic institutionalization. Furthermore, over the past twenty years, scholars of classics, Greek and Roman history, and late antiquity have significantly added to the bibliography on the transmission of knowledge—in lay person's terms, education—in the Greco-Roman and early Christian worlds. Schools continue to be an intense topic of conversation, and my own recent work on the School of Nisibis and the East Syrian schools in general suggests that the transformations and innovations of late antiquity also occurred in the Sasanian Empire, at a great distance from the centers of classical learning, such as Athens, Alexandria, and Antioch. The recently reexamined East Syrian sources may help push the conversation about rabbinic academic institutionalization forward. However, the significance of this issue is not simply attributable to its bearing on the social and institutional history of rabbinic institutions. Such inquiry may also reflect on how we understand the Babylonian Talmud and on the difficult redaction history of its constituent parts. Furthermore, I hope that the discussion offered herein will contribute to the ongoing analysis of the late antique creation and formalization of cultures of learning, which were transmitted, in turn, into the Eastern (i.e., Islamic and “Oriental” Christian and Jewish) and Western Middle Ages within their corresponding communities.

<p>This study aims at examining the Hamka�s concept of history education through a descriptive analysis of his life history and his historical works. Through reviewing Hamka life history, it is hope to know how did he make himself to became a historian. While by analyzing Hamka historical works, it is hope to know how did he use the methods of historical thinking in his works. Based on these the Hamka�s concept of history education is then reconstructed whit the emphasis on the goal and method of historical teaching. From the analysis of Hamka life history by framing how he established himself in the field of history, it is concluded that Hamka (1) has a high �interest� in the historical field that grow naturally being raised in an environment that is rich with the art of storytelling (<em>bakaba</em>) and (2) has a high �self efficacy� in independent learning that grow instead of failure in the formal school and then reinforced with a mastery of Islamic Jurisprudence and logic that deliberately was taught by his father in order not to mislead in learning all areas of his interest independently. Especially in the field of history Hamka learn by (3) �observing�, i.e. looking, listening, and asking about the origins of events and important figures in his surrounding environment and in other countries he journeyed, (4) �reading�, i.e. own attempting to gain an understanding of the various readings of history, whether written by the classical historian of Islam, the traditional local historians, and the modern historians including the orientalist and foreign writers, and (5� �writing� , which reproduces the understanding gained from the observations and readings by using his own angle of view, interpretation, and style. Further analysis using the framework of Seixas �historical thinking� on Hamka�s <em>Ayahku: Riwayat Hidup Dr. H. Abdul Karim Amrullah dan Perjuangan Kaum Agama di Sumatra Barat</em><em> </em>(�My Father: The History of Dr. H. Abdul Karim Amrullah and The Religious Struggle in West Sumatra�), it is clearly visible Hamka�s ability to use historical thinking. In this work Hamka successfully �demonstrate the significance of history�, �use of historical sources�, �analyze continuity and change in history�, �take a historical perspective�, and �presents a moral message of history�. As a self-taught in history, Hamka's ability intuitively derived from an intelligent reading of the historical works and present his own understanding of learning by way of writing it (writing to learn). What is achieved by this self-taught Hamka, should be achieved by anyone who studied history in formal education. Based on the life history of how Hamka establish himself as a student of history and an analysis of his original work <em>Ayahku</em>, it can be formulated concept Hamka�s history education that useful in developing an ideal history education. From Hamka�s life history, the keywords in his history education is �interest�, �self-efficacy�, �observing�, �reading� and �writing�. While from his historical work analysis the keyword is �think historically.� If all the keywords are formulated through a concise definition, then Hamka�s concept of history education is �fostering interest and self-efficacy of students in historical thinking through the activities of observing, reading, and writing about history.�</p><p>Keywords: Hamka, Metode Pengajaran, sejarah</p>

The Jesuit Mission in Japan was characterized by the establishment of the first painting Seminario in the Far East supervised by the Italian Jesuit Painter Giovanni Cola, who arrived in Nagasaki from Rome in 1583. The activity of the painting school focused on the production of sacred images needed for the Missionaries' evangelization effort, and it soon became a hub of Renaissance technology. European pigments were made available to Japanese and Chinese painters who trained at the Jesuit facility. New archaeometric studies have enabled to present in this work, for the first time, a renewed interpretation of historical records, also revealing, along with documentary evidence, that Arie, a place located in Kyushu, where the Seminario stayed between 1595 and 1597, played a major role as it hosted the first European glass workshop in the Far East. The systematic use of pigments introduced at Arie influenced the production of scared images both in Japan and China. However, the overall technological transfer proved an asymmetrical process due to the fierce persecution of Christians from 1614, and, as a consequence, local production of imported pigments will not start until the lifting of the ban on Christianity in 1873 with the return of Europeans to Japan.

Jubilee editions of such institutions of the Greek Catholic Church as: the Theological Scientific Society, the Greek Catholic Theological Academy, and theological seminaries in Lviv and Przemyśl, published in Galicia in the 1930s, are considered. Publications covered the scientific and educational activities of the mentioned institutions based on the documentary materials. These reflect the leading role of both the head of the Greek Catholic Church, Metropolitan Andrey Sheptytskyi, and the rector of the Theological Academy, Dr. Josyp Slipyi. The documents and materials presented in the jubilee editions, such as the messages of Metropolitan Sheptytskyi, reports of rector J. Slipyi, bibliography of publications of the Theological Scientific Society and Theological Academy, biographies of religious and cultural figures of Galicia, registers of scientific seminars on theology, philosophy, history, Slavic philology and sacred art, evidence the deep scientific research undertaken in the field of humanitarian studies. The main organizer of scientific research in the interwar period was the Shevchenko Scientific Society in Lviv, but the other institutions, such as: the Theological Scientific Society and the Theological Academy, the only Ukrainian higher school in Galicia, also took an important part in the development of national science and culture. Ukrainian theological science was represented at the European level by the journal «Theology», the edition published by the Theological Scientific Society, and later by the Theological Academy. It published materials written not only by theologians, but also by Ukrainian and foreign historians, writers, art critics, philosophers, and national educational figures, which contributed to revitalizing public life in Galicia. The use of these materials and documents by modern researchers of the history of the Greek-Catholic Church of the interwar period in publications, fundamental editions, discussions at symposia and scientific seminars, which are mentioned in the article, attests to the relevance and source value of such jubilee publications.

Pure luck played an important part in determining my scientific career. As far as I can remember, when a schoolboy I never seriously considered devoting myself to historical studies, let alone to archaeology arid prehistory. In fact, I then had no clear predilection for any particular, well-defined field. 1 was a rather good pupil in most subjects; only physics inspired a profound dislike in me and this barred the road to the exact sciences. My father made his living as a teacher and probably without realizing it, I wanted to follow in his footsteps. The influence of a few exccllcnt teachers eventually made me decide to read classics at the University of Ghent. Soon however, I grew strongly disappointed by my chosen subject and niy professors could not kindle in me any fervent lovc for the endless rehashing of antique texts or for critical texteditions. Luckily I was attracted almost immediately by a remarkable man, Hubert \.’an de IVeerd, whose extensive courses included riot only the whole range of ancient history but also the archaeology and art history of that same period. His personal interest, however, was in Gallo-Kornan archaeology, and precisely at the time when I first met hini he had just finished the first large-scale operation undertaken in Belgium, to wit the excavation of the townwall of ‘I’ongeren, the antique Aturrtucu Tungrotmi. I xi the course of his academic career, Van de 12’eerd spent the best part of his time and efforts on the training of his students; he thus created a solid school of historians and archaeologists, the best of whom were to occupy important positions in Flemish intellectual life.

This study aims to discuss the comparison between KBK, KTSP and Curriculum 2013 where there are many criticisms of the government's proposal to radically change the elementary school curriculum into six subjects: mathematics, Indonesian language, religious studies, Pancasila, sports, and arts. However, critics have put forward some very weak arguments and fail to see how the proposed curriculum will help Indonesia – far more effectively than it currently is – build a first-class education system. One good a priori reason to think that the government is right and the critics wrong is that the proposed curriculum is very similar to the curriculum taught in primary schools in England and is universally admired in education circles around the world. The reason why basic English education is so admired for wanting a basic education: to develop children's curiosity and curiosity and encourage critical thinking and creativity by not burdening them with too many set subjects but using the available time to integrate teaching according to various topics. In classes where children are ostensibly studying mathematics or English or religion or art, they are at the same time exposed to knowledge of the world around them and their social and physical environment, a broad understanding of specific periods in history. , moral ideas, and awareness of their own potential. All of this takes place in a context where children learn to take responsibility for their own learning through discovery and investigation, reading, asking questions, watching video clips, utilizing IT resources, libraries, and educational classroom aids (CW Watson, 2012).

Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.

Introdução: A infância, como categoria social, precisa ser estudada, especialmente, as infâncias negligenciadas, como a da criança com deficiência intelectual em contexto educativo, chamada de excepcional no recorte temporal utilizado. Objetivo: Objetiva-se analisar as ações terapêutico ocupacionais como parte da cultura escolar da Fundação Pestalozzi do Pará, desenvolvida no período de 1953-1975 junto às crianças excepcionais. Métodos: Trata-se de uma pesquisa histórica, que se utilizou de matérias de jornais, imagens da cultura escolar da instituição e o livro intitulado “Fundação Pestalozzi do Pará: a educação especial no processo de integração educacional”, publicado em 1988, como fontes documentais que foram analisadas com base na análise do discurso. Resultados: Elegeu-se como resultado duas categorias: O ingresso e classificação das crianças excepcionais e ações terapêutico ocupacionais. Analisa-se que as crianças eram classificadas a partir dos ideários eugenistas e da escola nova da década de 1930. Tal classificação interferia na participação social da criança, inclusive no acesso à educação. Na Fundação Pestalozzi, as crianças excepcionais eram acompanhadas por um programa assistencial e educativo. Na frente educativa, as ações terapêutico ocupacionais envolviam o lúdico, arte, atividades e eventos culturais, esportivos, religiosos e cívicos e se baseavam na política da integração educacional, pautada na habilitação e reabilitação. Conclusão: Conclui-se que o estudo possibilitou compreender quais práticas terapêutico ocupacionais e porque categorias profissionais às referidas práticas eram desenvolvidas na instituição e como elas se incluíam na cultura escolar, bem como se evidencia a inter-relação entre a história da educação especial nacional e local, reforçando a necessidade de estudos históricos no campo da Terapia Ocupacional. Palavras-chave: Deficiência intelectual. Educação Especial. História. Terapia Ocupacional. Abstract Introduction: Childhood as a social category needs to be studied, especially the neglected childhoods in an educational context, such as the child with intellectual disability, called exceptional in the time frame used. Objective: The objective of this research is to analyze the actions of occupational therapheutic as part of the school culture of the Pestalozzi Foundation of Pará developed between 1953-1975 with exceptional children. Methods: This is a historical research, which used newspaper articles, images of the institution's school culture and the book entitled “Foundation Pestalozzi of Pará: special education in the process of educational integration”, published in 1988, as documentary sources, which were analyzed based on discourse analysis. Results: Two categories were elected as a result: 1. The entry and classification of exceptional children and 2. Occupational therapeutic actions. It is analyzed that the children were classified from the eugenicist ideas and the new school moviment of the 1930s. This classification interfered in the child's social and occupational participation, including access to education. At the Pestalozzi Foundation, exceptional children were accompanied by a care and educational program. On the educational front, occupational therapeutic actions involved the playful, art, activities and cultural, sports, religious and civic events and were based on the policy of educational integration, based on habilitation and rehabilitation. Conclusion: It was concluded that the study made it possible to understand which occupational therapeutic practices and by which professional categories the said practices were developed in this institution and how they were included in the school culture, as well as the interrelationship between the history of national and local special education, reinforcing the need for historical studies in the field of Occupational Therapy.Keywords: Intellectual Disability. Special Education. History. Occupational Therapy. ResumenIntroducción: Es necesario estudiar la infancia como categoría social, con gran manera la infancia descuidada, como los niños con discapacidad intelectual en un contexto educativo, llamados excepcionales en el plazo utilizado. Objetivo: El objetivo es analizar el “terapéutico ocupacional” como parte de la cultura escolar de la Fundación Pestalozzi de Pará desarrollada en el periodo 1953-1975 con niños excepcionales. Métodos: Se trata de una investigación histórica, que utilizó artículos periodísticos, imágenes de la cultura escolar de la institución y el libro titulado “Fundação Pestalozzi do Pará: educación especial en el proceso de integración educativa”, publicado en 1988,como fuentes documentales, que fueron analizadas sobre la base del análisis del discurso. Resultados: Dos categorías fueron elegidas como resultado: 1. La entrada y clasificación de niños excepcionales y 2. Acciones terapéutico ocupacionales. Se analiza que los niños fueron clasificados a partir de las ideas eugenistas y la nueva escuela de la década de 1930. Esta clasificación interfirió en la participación social y ocupacional del niño, incluido el acceso a la educación. En la Fundación Pestalozzi, niños excepcionales fueron acompañados por un programa de cuidado y educación. En el ámbito educativo, las acciones terapéuticas ocupacionales involucraron los eventos lúdicos, artísticos, de actividades y culturales, deportivos, religiosos y cívicos y se basaron en la política de integración educativa, basada en la habilitación y rehabilitación. Conclusión: Se concluyó que el estudio permite entender qué prácticas terapéuticas ocupacionales y por qué categorías profesionales se desarrollaron en esta institución y cómo se incluyeron en la cultura escolar, así como la interrelación entre la Historia de la Educación Especial Nacional y Local, reforzando la necesidad de estudios históricos en el campo de la Terapia Ocupacional.Palabras-clave: Discapacidad Intelectual. Educación Especial. Historie. Terapia Ocupacional.

Background. Within the framework of art-historical discourse, the peculiarities of the influence of design developments and concepts on progress of humanity are considered. Researchers offer ambiguous estimates of this phenomenon, discussions are lasting and different opinions on the issues of influence of design on technological and cultural progress of human society are putting forward. The aim of the paper is to systematize and generalize scientific concepts about the design role in the society progress. Novelty of the research consisting in synthesis of information on features of development of design for the last years in various spheres of culture and social practice defines its practical significance: the Ukrainian educators and art critics can consider the information contained in the article useful to develop new strategy of training in bases of design to non-specialist students. Methodology. Major publications and monographs on the subject have been reviewed. It has been found that terminological judgment of design began with the middle of the XX century, first, within postmodern paradigm. The design as a component of culture correlates with cultural and art traditions, philosophy, ecology and other areas of public and humanitarian knowledge. Hence, the study of the role of design in ensuring progress provides for the wide use of theoretical and methodological tools not only of design theory, but also of other disciplines: art history, cultural studies, social psychology, aesthetics, ecology, etc. The design is considered both as universal and as a national phenomenon. The definitions of design in the works of a number of domestic and foreign authors in the context of its cultural-creative influence are compared. The analysis of design in its connection with artistic creativity is carried out. The components of contemporary design art are determined, the characteristic to the newest manifestations of design is given. Results. The design represents the hierarchical structure expressed by means of а material, space and balance of proportions, contrasts, repetitions (in ornaments, etc.), scale and a form, a size, a color and density, texture and weight, and other. It is possible to consider culture of design as the huge multilayered text, which is written down by different ways in different spheres of culture and art. However the dilemma “art or production” in the sphere of design is inevitable. Design is directly involved in technical progress in material culture and uses the art of planning, invention, modeling as a method, also introducing new object forms (see, for example, Vershinin & Melentyev, 2005: 1001). The design role in culture is connected with creation of esthetically perfect fine environment. At the same time, it is differentiated essentially depending on the region of the world. So, design creativity is reasonably considered a manifestation of project activities and project culture of the 20th century. However, the progressive function of design at the beginning of the 21st century is that design is becoming a way to bridge the gap between technical civilization and spiritual culture, and design projecting is becoming a way of harmonizing human life in a modern environment. The importance of design for the progress of humankind is clearly demonstrated by the modern ecological direction, one of the components of the international movement of “green” design, namely, “environmental” design. This concept implies the creation of products that are compatible with the environment, the reduction and complete elimination of the negative impact on nature through the use of alternative resources and energy, as well as non-toxic materials. Ideally, the design should be in line with the “3R” ecological principle: reduce, reuse, and recycle. The value of design for progress in art can be understood, having only tracked integration of painting, architecture, industrial and graphic design and having seen what the role in tangled process of creation of design is played by contents and a form, which also are the expression of the thought, the point of view and social responsibility of the designers. It is also important to emphasize the role of the designer’s profession, because for many artists design and art is a cultural mission, where life and work are inseparable. Judgments of design in art are formed, proceeding from two types of estimates: symbolical, or associative (external), and formal (internal). Symbolical estimates are mostly subjective and have no relation to design or art per se, being most often based on a habit, rumors, others thought, personal factors, prejudices, misunderstanding, that is on social, psychological, political, financial and even religious factors. Internal assessments concern an esthetics and actually design (appearance of the work of art, its visual quality) regardless of what it personifies. If external estimates belong to contents, then internal – to beauty. The latter is difficult to measure it and here such factors as talent, erudition, taste, susceptibility, experience and visual feeling matter. When determining a role of design in art, it is also necessary to remember that the principles of laconicism, laws of color, a rhythm and even plot equally work in any material, these fundamentals exist out of time, space, the state, school or style. To resume, human progress is largely driven by the positive influences of design concepts. Summarizing the views of Ukrainian and foreign researchers, it can be argued that design as a type of purposeful creative activity of mankind contributes to progress, since: 1) provides support for the development of civilization by creating new and improving known man-made objects; 2) creates an optimal human environment in order to achieve maximum comfort of his existence; 3) contributes to the formation of creative personality traits, its purposeful activity, which is one of the main social tasks. Design acts as an universal phenomenon, which covers different spheres of human activity, being, at the same time, the factor of socio-cultural communication and the basis for personality realization. As the socio-cultural phenomenon, it correlates with understanding of the person as source of intrinsic forces acting like the harmony catalyst in space.

AbstractAry Scheffer (1795-1858) is so generally included in the French School (Note 2)- unsurprisingly, since his career was confined almost entirely to Paris - that the fact that he was born and partly trained in the Netherlands is often overlooked. Yet throughout his life he kept in touch with Dutch colleagues and drew part of his inspiration from Dutch traditions. These Dutch aspects are the subject of this article. The Amsterdam City Academy, 1806-9 Ary Scheffer was enrolled at the Amsterdam Academy on 25 October 1806, his parents falsifying his date of birth in order to get him admitted at the age of eleven (fifteen was the oficial age) . He started in the third class and in order to qualify for the second he had to be one of the winners in the prize drawing contest. Candidates in this were required to submit six drawings made during the months January to March. Although no-one was supposed to enter until he had been at the Academy for four years, Ary Scheffer competed in both 1808 and 1809. Some of his signed drawings are preserved in Dordrecht. (Figs. 1-5 and 7), along with others not made for the contest. These last in particular are interesting not only because they reveal his first prowess, but also because they give some idea of the Academy practice of his day. Although the training at the Academy broadly followed the same lines as that customary in France, Italy and elsewhere (Note 4), our knowledge of its precise content is very patchy, since there was no set curriculum and no separate teachers for each subject. Two of Scheffer's drawings (Figs. 2 and 3) contain extensive notes, which amount to a more or less complete doctrine of proportion. It is not known who his teacher was or what sources were used, but the proportions do not agree with those in Van der Passe's handbook, which came into vogue in the 18th century, or with those of the canon of a Leonardo, Dürer or Lebrun. One gets the impression that what are given here are the exact measurements of a concrete example. Scheffer's drawings show him gradually mastering the rudiments of art. In earlier examples the hatching is sometimes too hasty (Fig. 4) or too rigidly parallel (Fig.5), while his knowledge of anatomy is still inadequate and his observation not careful enough. But right from the start he shows flair and as early as 1807 he made a clever drawing of a relatively complex group (Fig. 6) , while the difficult figure of Marsyas was already well captured in 1808 and clearly evinces his growing knowledge o f anatomy, proportion , foreshortening and the effects of light (Fig. 7). The same development can be observed in his portrait drawings. That of Gerardus Vrolik (1775-1859, Fig.8), a professor at the Atheneum Illustre (the future university) and Scheffer' s teacher, with whom he always kept in touch (Note 6), is still not entirely convincing, but a portrait of 1809, thought to be of his mother (Fig.9, Note 7), shows him working much more systematically. It is not known when he left the Academy, but from the summer of 1809 we find him in France, where he was to live with only a few breaks from 1811 to his death. The first paintings and the Amsterdam exhibitions of 1808 and 1810 Ary Scheffer's earliest known history painting, Hannibal Swearing to Avenge his Brother Hasdrubal's Death (Fig. 10) Notes 8-10) was shown at the first exhibition of living masters in Amsterdam in 1808. Although there was every reason for giving this subject a Neo-Classical treatment, the chiaroscuro, earthy colours and free brushwork show Scheffer opting for the old Dutch tradition rather than the modern French style. This was doubtless on the prompting of his parents,for a comment in a letter from his mother in 1810 (Note 12) indicates that she shared the reservations of the Dutch in general about French Neo-Classicism. (Note 11). As the work of a twelve to thirteen year old, the painting naturally leaves something to be desired: the composition is too crowded and unbalanced and the anatomy of the secondary figures rudimentary. In a watercolour Scheffer made of the same subject, probably in the 1820's, he introduced much more space between the figures (Fig. 11, Note 13). Two portraits are known from this early period. The first, of Johanna Maria Verbeek (Fig. 12, Note 14), was done when the two youngsters were aged twelve. It again shows all the characteristics of an early work, being schematic in its simplicity, with some rather awkward details and inadequate plasticity. On the other hand the hair and earrings are fluently rendered, the colours harmonious and the picture has an undeniable charm. At the second exhibition of works by living masters in 1810, Ary Scheffer showed a 'portrait of a painter' (Fig. 13), who was undoubtedly his uncle Arnoldus Lamme, who also had work in the exhibition as did Scheffer's recently deceased father Johan-Bernard and his mother Cornelia Scheffer-Lamme, an indication of the stimulating surroundings in which he grew up. The work attracted general attention (Note 16) and it does, indeed, show a remarkable amount of progress, the plasticity, effects of light, brushwork and colour all revealing skill and care in their execution. The simple, bourgeois character of the portrait not only fits in with the Dutch tradition which Scheffer had learned from both his parents in Amsterdam, but also has points in common with the recent developments in France, which he could have got to know during his spell in Lille from autumn 1809 onwards. A Dutchman in Paris Empire and Restoration, 1811-30 In Amsterdam Scheffer had also been laught by his mother, a miniature painter, and his father, a portrait and history painter (Note 17). After his father's death in June 1809, his mother, who not only had a great influence on his artistic career, but also gave his Calvinism and a great love of literature (Note 18), wanted him to finish his training in Paris. After getting the promise of a royal grant from Louis Napoleon for this (Note 19) and while waiting for it to materialize, she sent the boy to Lille to perfect his French as well as further his artistic training. In 1811 Scheffer settled in Paris without a royal grant or any hope of one. He may possibly have studied for a short time under Prudhon (Note 20) , but in the autumn of 1811 he was officially contracted as a pupil of Guérin, one of the leading artists of the school of David, under whom he mastered the formulas of NeD-Classicism, witness his Orpheus and Eurydice (Fïg.14), shown in the Salon of 1814. During his first ten years in Paris Scheffer also painted many genre pieces in order, so he said, to earn a living for himself and his mother. Guérin's prophecy that he would make a great career as a history painter (Note 21) soon came true, but not in the way Guérin thought it would, Scheffer participating in the revolution initiated by his friends and fellow-pupils, Géricault and Delacroix, which resulted in the rise of the Romantic Movement. It was not very difficult for him to break with Neo-Classicism, for with his Dutch background he felt no great affinity with it (Note 22). This development is ilustrated by his Gaston de Foix Dying on the Battlefield After his Victory at Ravenna, shown at the Salon of 1824, and The Women of Souli Throwing Themselves into the Abyss (Fig.15), shown at that of 1827-8. The last years of the Restoration and the July Monarchy. Influence of Rembrandt and the Dutch masters In 1829, when he seemed to have become completely assimilated in France and had won wide renown, Scheffer took the remarkable step of returning to the Netherlands to study the methods of Rembrandt and other Dutch old masters (Note 23) . A new orientation in his work is already apparent in the Women of Souli, which is more harmonious and considered in colour than the Gaston dc Foix (Note 24). This is linked on the one hand to developments in France, where numbers of young painters had abandoned extreme Romanticism to find the 'juste milieu', and on the other to Scheffer's Dutch background. Dutch critics were just as wary of French Romanticism as they had been of Neo-Classicism, urging their own painters to revive the traditions of the Golden Age and praising the French painters of the 'juste milieu'. It is notable how many critics commented on the influence of Rembrandt on Scheffer's works, e.g. his Faust, Marguérite, Tempête and portrait of Talleyrand at the Salon of 1851 (Note 26). The last two of these date from 1828 and show that the reorientation and the interest in Rembrandt predate and were the reasons for the return to the Netherlands in 1829. In 1834 Gustave Planche called Le Larmoyeur (Fig. 16) a pastiche of Rembrandt and A. Barbier made a comparable comment on Le Roi de Thule in 1839 (Note 27). However, as Paul Mantz already noted in 1850 (Note 28), Scheffer certainly did not fully adopt Rembrandt's relief and mystic light. His approach was rather an eclectic one and he also often imbued his work with a characteristically 19th-century melancholy. He himself wrote after another visit to the Netherlands in 1849 that he felt he had touched a chord which others had not attempted (Note 29) . Contacts with Dutch artists and writers Scheffer's links with the Netherlands come out equally or even more strongly in the many contacts he maintained there. As early as 1811-12 Sminck-Pitloo visited him on his way to Rome (Note 30), to be followed in the 1820's by J.C. Schotel (Note 31), while after 1830 as his fame increased, so the contacts also became more numerous. He was sought after by and corresponded with various art dealers (Note 33) and also a large number of Dutch painters, who visited him in Paris or came to study under him (Note 32) Numerous poems were published on paintings by him from 1838 onwards, while Jan Wap and Alexander Ver Huell wrote at length about their visits to him (Note 34) and a 'Scheffer Album' was compiled in 1859. Thus he clearly played a significant role in the artistic life of the Netherlands. International orientation As the son of a Dutch mother and a German father, Scheffer had an international orientation right from the start. Contemporary critics and later writers have pointed out the influences from English portrait painting and German religious painting detectable in his work (Note 35). Extracts from various unpublished letters quoted here reveal how acutely aware he was of what was likely to go down well not only in the Netherlands, but also in a country like England, where he enjoyed great fame (Notes 36-9) . July Monarchy and Second Empire. The last decades While most French artists of his generation seemed to have found their definitive style under the July Monarchy, Scheffer continued to search for new forms of expression. In the 1830's, at the same time as he painted his Rembrandtesque works, he also produced his famous Francesca da Rimini (Fig. 17), which is closer to the 'juste milieu' in its dark colours and linear accents. In the 1840's he used a simple and mainly bright palette without any picturesque effects, e.g. in his SS. Augustine and Monica and The Sorrows of the Earth (Note 41), but even this was not his last word. In an incident that must have occurred around 1857 he cried out on coming across some of his earlier works that he had made a mistake since then and wasted his time (Note 42) and in his Calvin of 1858 (Fig. 18) he resumed his former soft chiaroscuro and warm tones. It is characteristic of him that in that same year he painted a last version of The Sorrows of the Earth in the light palette of the 1840's. Despite the difficulty involved in the precise assessment of influences on a painter with such a complex background, it is clear that even in his later period, when his work scored its greatest successes in France, England and Germany, Scheffer always had a strong bond with the Netherlands and that he not only contributed to the artistic life there, but always retained a feeling for the traditions of his first fatherland. Appendix An appendix is devoted to a study of the head of an old man in Dordrecht, which is catalogued as a copy of a 17th-century painting in the style of Rembrandt done by Ary Scheffer at the age of twelve (Fig.19, Note 43). This cannot be correct, as it is much better than the other works by the twelve-year-old painter. Moreover, no mention is made of it in the catalogue of the retrospective exhibition held in Paris in 1859, where the Hannibal is given as his earliest work (Note 44). It was clearly unknown then, as it is not mentioned in any of the obituaries of 1858 and 1859 either. The earliest reference to it occurs in the list made bv Scheffer's daughter in 1897 of the works she was to bequeath to the Dordrecht museum. A clue to its identification may be a closely similar drawing by Cornelia Scheffer-Lamme (Fig. 20, Note 46), which is probably a copy after the head of the old man. She is known to have made copies after contemporary and 17th-century masters. The portrait might thus be attributable to Johan-Bernard Scheffer, for his wife often made copies of his works and he is known from sale catalogues to have painted various portraits of old men (Note 47, cf. Fig.21). Ary Scheffer also knew this. In 1839 his uncle Arnoldus Lamme wrote to him that he would look out for such a work at a sale (Note 48). It may be that he succeeded in finding one and that this portrait came into the possession of the Scheffer family in that way, but Johan-Bernard's work is too little known for us to be certain about this.

Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.

The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.

In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahrain – Island of the Hundred Thousand Burial Mounds, The Flint Sites of the Bahrain Desert, Temples at Barbar and The Ancient Capital of Bahrain, followed by Bibby’s Five among Bahrain’s Hundred Thousand Burial Mounds and The Well of the Bulls. The following years, reports on excavations on Bahrain and later in the sheikhdoms of Qatar, Kuwait and Abu Dhabi are on Kuml’s repertoire.However, it all ends wit h the festschrift to mark Glob’s 60th anniversary, Kuml 1970, which has three articles on Arab archaeology and a single article in 1972. For the past thirty years almost, the journal has not had a single article on Arabia. Why is that? Primarily because the character of the museum’s work in the Arabian Gulf changed completely. The pioneers’ years of large-scale reconnaissance and excavations were succeeded by labourous studies of the excavated material – the necessary work preceding the final publications. Only in Abu Dhabi and Oman, Karen Frifelt carried on the pioneer spirit through the 1970s and 1980s, but she mainly published her results in in ternational, Englishlanguage journals.Consequently, the immediate field reports ended, but the subsequent research into Arab archaeology – carried out at the writing desk and with the collections of finds– still crept into Kuml. From 1973 , the journal contained a list of the publications made by the Jutland Archaeological Society (abbreviated JASP), and here, the Arab monographs begin to make their entry. The first ones are Holger Kapel’s Atlas of the Stone Age Cultures of Qatar from 1967 and Geoffrey Bibby’s survey in eastern Saudi Arabia from 1973. Then comes the Hellenistic excavations on the Failaka island in Kuwait with Hans Erik Mathiesen’s treatise on the terracotta figurines (1982), Lise Hannestad’s work on the ceramics (1983) and Kristian Jeppesen’s presentation of the temple and the fortifications (1989). A similar series on the Bronze Age excavations on Failaka has started with Poul Kjærum’s first volume on the stamp and cylinder seals (1983) and Flemming Højlund’s presentation of the ceramics (1987). The excavations on the island of Umm an-Nar in Abu Dhabi was published by Karen Frifelt in two volumes on the settlement (1991) and the graves (1995), and the ancient capital of Bahrain was analysed by H. Hellmuth Andersen and Flemming Højlund in two volumes on the northern city wall and the Islamic fort (1994) and the central, monumental buildings (1997) respectively.More is on its way! A volume on Islamic finds made on Bahrain has just been made ready for printing, and the Bronze Age temples at the village of Barbar is being worked up. Danish and foreign scholars are preparing other volumes, but the most important results of the expeditions to the Arabian Gulf have by now been published in voluminous series.With this, an era has ended, and Moesgård Museum’s 50th anniversary in 1999 was a welcome opportunity of looking back at the Arabian Gulf effort through the exhibition Glob and the Garden ef Eden. The Danish Bahrain expeditions and to consider what will happen in the future.How then is the relation ship between Moesgård Museum and Bahrain today, twenty-three years after the last expedition – now that most of the old excavations have been published and the two originators of the expeditions, P.V. Glob and Geoffrey Bibby have both died?In Denmark we usually consider Bahrain an exotic country with an exciting past. However, in Bahrain there is a similar fascination of Denmark and of Moesgård Museum. The Bahrain people are wondering why Danish scholars have been interested in their small island for so many years. It was probably not a coincidence when in the 1980s archaeologist and ethnographers from Moesgård Museum were invited to take part in the furnishing of the exhibitions in the new national museum of Bahrain. Today, museum staff from Arab countries consider a trip to Moesgård a near-pilgrimage: our collection of Near East artefacts from all the Gulf countries is unique, and the ethnographic collections are unusual in that they were collected with thorough information on the use, the users and the origin of each item.The Bahrain fascination of Moesgård Museum. was also evident, when the Bahrain minister of education, Abdulaziz Al-Fadl, visited the museum in connection with the opening of the Bahrain exhibition in 1999.Al-Fadl visited the museum’s oriental department, and in the photo and film archive a book with photos taken by Danish members of the expeditions to the Arabian Gulf was handed over to him. Al-Fadl was absorbed by the photos of the Bahrain of his childhood – the 1950s and 1960s – an un spoilt society very different from the modern Bahrain. His enthusiasm was not lessened when he saw a photo of his father standing next to P.V. Glob and Sheikh Salman Al Khalifa taken at the opening of Glob’s first archaeological exhibition in Manama, the capital. At a banquet given by Elisabeth Gerner Nielsen, the Danish minister of culture, on the evening following the opening of the Glob exhibition at Moesgård, Al-Fadl revealed that as a child, he had been on a school trip to the Danish excavations where – on the edge of the excavation – he had his first lesson in Bahrain’s prehistory from a Danish archaeologist (fig. 1).Another example: When attending the opening of an art exhibition at Bahrain’s Art Centre in February 1999, I met an old Bahrain painter, Abdelkarim Al-Orrayed, who turned out to be a good friend of the Danish painter Karl Bovin, who took part in Glob’s expeditions. He told me, how in 1956, Bovin had exhibited his paintings in a school in Manama. He recalled Bovin sitting in his Arabian tunic in a corner of the room, playing a flute, which he had carved in Sheikh Ibrahim’s garden.In a letter, Al-Orrayed states: ”I remember very well the day in 1956, when I met Karl Bovin for the first time. He was drawin g some narrow roads in the residential area where I lived. I followed him closely with my friend Hussain As-Suni – we were twentythree and twenty-one years old respectively. When he had finished, I invited him to my house where I showed him my drawings. He looked at them closely and gave me good advice to follow if I wanted to become a skilful artist – such as focusing on lines, form, light, distance, and shadow. He encouraged me to practice outdoors and to use different models. It was a turning point in our young artists’ lives when Hussein and I decided to follow Bovin’s instructions. We went everywhere – to the teahouses, the markets, the streets, and the countryside – and practised there, but the sea was the most fascinating phenomenon to us. In my book, An Introduction to Modern Art in Bahrain, I wrote about Bovin’s exhibitions in the 1950s and his great influence on me as an artist. Bovin’s talent inspired us greatly in rediscovering the nature and landscape on Bahrain and gave us the feeling that we had much strength to invest in art. Bovin contributed to a new start to us young painters, who had chosen the nature as our main motif.”Abdelkarim Al-Orrayed was the first Bahrain painter to live of his art, and around 1960 he opened a studio from which he sold his paintings. Two of his landscape watercolours are now at Moesgård.These two stories may have revealed that Bahrain and Moesgard Museum have a common history, which both parts value and wish to continue. The mutual fascination is a good foundation to build on and the close bonds and personal acquaintance between by now more generations is a valuable counterbalance to those tendencies that estrange people, cultures, and countries from one another.Already, more joint projects have been initiated: Danish archaeology students are taking part in excavations on Bahrain and elsewhere in the Arabic Gulf; an ethnography student is planning a long stay in a village on Bahrain for the study of parents’ expectations to their children on Bahrain as compared with the conditions in Denmark; P.V. Glob’s book, Al-Bahrain, has been translated into Arabic; Moesgård’s photos and films from the Gulf are to become universally accessible via the Internet; an exhibition on the Danish expeditions is being prepared at the National Museum of Bahrain, and so forth.Two projects are to be described in more detail here: New excavations on Bahrain that are to investigate how fresh water was exploited in the past, and the publication of a book and three CDs, Music in Bahrain, which will make Bahrain’s traditional music accessible not just to the population of Bahrain, but to the whole world.New excavations on BahrainFor millennia, Bahrain was famous for its abundance of fresh water springs, which made a belt of oases across the northern half of the island possible. Natural fertility combined with the favourable situation in the middle of the Arab Gulf made Bahrain a cultural and commercial centre that traded with the cities of Mesopotamia and the IndusValley already in the third millennium BC.Fresh water also played an important part in Bahrain’s ancient religion, as seen from ar chaeological excavations and Mesopotamian cuneiform tablets: A magnificent temple of light limestone was built over a spring, and according to old texts, water was the gods’ gift to Bahrain (Dilmun).Although fresh water had an overwhelming importance to a parched desert island, no studies have been directed towards the original ”taming” of the water on Bahrain. Therefore, Moesgård Museum is now beginning to look into the earliest irrigation techniques on the island and their significance to Bahrain’s development.Near the Bahrain village of Barbar, P.V. Glob in 1954 discovered a rise in the landscape, which was excavated during the following years. It turned out that the mound covered three different temples, built on top of and around each other. The Barbar temple was built of whitish ashlars and must have been an impressive structure. It has also gained a special importance in Near East research, as this is the first and only time that the holy spring chamber, the abzu, where the god Enki lived, has been un earthed (fig. 2).On the western side of the Barbar temple a monumental flight of steps, flank ed on both sides by cult figures, was leading through a portal to an underground chamber with a fresh water spring. In the beautiful ashlar walls of this chamber were three openings, through which water flowed. Only the eastern out flow was investigated, as the outside of an underground stonebuilt aqueduct was found a few metres from the spring chamber.East of the temple another underground aqueduct was followed along a 16-m distance. It was excavated at two points and turned out almost to have the height of a man. The floor was covered with large stones with a carved canal and the ceiling was built of equally large stones (fig. 3).No doubt the spring chamber was a central part of the temple, charge d with great importance. However, the function of the aqueducts is still unknown. It seems obvious that they were to lead the fresh water away from the source chamber, but was this part of a completely ritual arrangement, or was the purpose to transport the water to the gardens to be used for irrigation?To clarify these questions we will try to trace the continuations of the aqueducts using different tracing techniques such as georadar and magnetometer. As the sur roundings of Barbar temple are covered by several metres of shifting sand, the possibilities of following the aqueducts are fine, if necessary even across a great distance, and if they turn out to lead to old gardens, then these may be exposed under the sand.Underground water canals of a similar construction, drawing water from springs or subsoil water, have been used until modern times on Bahrain, and they are still in use in Iran and on the Arabian Peninsula, especially in Oman, where they supply the gardens with water for irrigation. They are called qanats and are usually considered built by the Persians during periods when the Achaemenid or Sassanid kings controlled Arabia (c. 500 BC-c. 600 AD). However, new excavation results from the Oman peninsula indicate that at least some canal systems date from c. 1000 BC. It is therefore of utmost interest if similar sophisticated transportation systems for water on Bahrain may be proven to date from the time of the erection of the Barbar temple, i.e. c. 2000 BC.The finds suggest that around this time Bahrain underwent dramatic changes. From being a thinly inhabited island during most of the 3rd millennium BC, the northern part of the island suddenly had extensive burial grounds, showing a rapid increase in population. At the same time the major settlement on the northern coast was fortified, temples like the one at Barbar were built, and gigantic ”royal mounds” were built in the middle of the island – all pointing at a hierarchic society coming into existence.This fast social development of Dilmun must have parallelled efficiency in the exploitation of fresh water resources for farm ing to supply a growing population with the basic food, and perhaps this explains the aqueducts by Barbar?The planned excavatio ns will be carried out in close cooperation between the National Museum of Bahrain and Aarhus University, and they are supported financially by the Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry.The music of BahrainThe composer Poul Rovsing Olsen (1922-1982) was inspired by Arab and Indian music, and he spent a large part of his life studying traditional music in the countries along the Arabian Gulf. In 1958 and 1962-63 he took part in P.V. Glob’s expeditions to Arabia as a music ethnologist and in the 1970s he organised stays of long duration here (fig. 4).The background for his musical fieldwork was the rapid development, which the oil finds in the Gulf countries had started. The local folk music would clearly disappear with the trades and traditions with which they were connected.” If no one goes pearl fishing anymore, then no one will need the work songs connected to this work. And if no one marries according to tradition with festivity lasting three or sometimes five days, then no one will need the old wedding songs anymore’’.It was thus in the last moment that Rovsing Olsen recorded the pearl fishers’ concerts, the seamen’s shanties, the bedouin war songs, the wedding music, the festival music etc. on his tape recorder. By doing this he saved a unique collection of song and music, which is now stored in the Dansk Folkemindesamling in Copenhagen. It comprises around 150 tapes and more than 700 pieces of music. The instruments are to be found at the Musikhistorisk Museum and Moesgård Museum (fig. 5).During the 1960s and 1970s Rovsing Olsen published a number of smaller studies on music from the Arabian Gulf, which established his name as the greatest connoisseur of music from this area – a reputation, which the twenty years that have passed since his death have not shaken. Rovsing Olsen also published an LP record with pearl fisher music, and with the music ethnologist Jean Jenkins from the Horniman Museum in London he published six LP records, Music in the World of Islam with seven numbers from the Arabian Gulf, and the book Music and Musical Instruments in the World of Islam (London 1976).Shortly before his death, Rovsing Olsen finished a comprehensive manuscript in English, Music in Bahrain, where he summed up nearly twenty-five years of studies into folk music along the Arabian Gulf, with the main emphasis on Bahrain. The manuscript has eleven chapters, and after a short introduction Rovsing Olsen deals with musical instruments, lute music, war and honour songs of the bedouins, festivity dance, working songs and concerts of the pearl fishers, music influenced front Africa, double clarinet and bag pipe music, religious songs and women’s songs. Of these, eighty-four selected pieces of music are reproduced with notes and commented in the text. A large selection of this music will be published on three CDs to go with the book.This work has been anticipated with great expectation by music ethnologists and connoisseurs of Arabic folk music, and in agreement with Rovsing Olsen’s widow, Louise Lerche-Lerchenborg and Dansk Folkemindesamling, Moesgård Museum is presently working on publishing the work.The publication is managed by the Jutland Archaeological Society and Aarhus University Press will manage the distribution. The Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry will cover the editing and printing expenses.The publication of the book and the CDs on the music of Bahrain will be celebrated at a festivity on Bahrain, at the next annual cultural festival, the theme of which will be ”mutual inspiration across cultural borders” with a focus on Rovsing Olsen. In this context, Den Danske Trio Anette Slaato will perform A Dream in Violet, a music piece influenced by Arabic music. On the same occasion singers and musicians will present the traditional pearl fishers’ music from Bahrain. In connection with the concert on Bahrain, a major tour has been planned in cooperation with The Danish Institute in Damascus, where the Danish musicians will also perform in Damascus and Beirut and give ”masterclasses” in chamber music on the local music academies. The concert tour is being organised by Louise Lerche-Lerchenborg, who initiated one of the most important Danish musical events, the Lerchenborg Musical Days,in 1963 and organised them for thirty years.ConclusionPride of concerted effort is not a special Danish national sport. However,the achievements in the Arabian Gulf made by the Danish expeditions from the Århus museum are recognised everywhere. It is only fair to use this jubilee volume for drawing attention to the fact that the journal Kuml and the publications of the Jutland Archaeological Society were the instruments through which the epoch-making investigations in the Gulf were nude public nationally and internationally.Finally, the cooperationon interesting tasks between Moesgård Museum and the countries along the Arabian Gulf will continue. In the future, Kuml will again be reporting on new excavations in the palm shadows and eventually, larger investigation s will no doubt find their way to the society’s comprehensive volumes.Flemming HøjlundMoesgård MuseumTranslated by Annette Lerche Trolle

In the wake of Coronavirus (Covid 19), the global economy faced many challenges and stands victimised with recession in most of the economies including India. Covid 19 proved as the ‘Black Swan’ of global economy which has swallowed millions of human lives better not to be quantified. To cope up the impact of Covid 19, every citizen as consumer, producer, distributor, and trader has a role to play in the global economy to be revived from the recession caused by demand and supply distortions during covid (DC). It will be rele-vant to understand the functioning of the global economy before covid (BC), during covid (DC) and after covid (AC) by the economist to ponder over the solutions for the prob-lems. Being a votary for needonomics school of thought, I believe that every citizen must accept the responsibilities of needo-education for edu-cating youth not only employability and entre-preneurship but the basics of everything we need in our daily lives. We need to go beyond looking at government to find ways to develop the most valuable resources, the people. Needo-health : how to lead a healthy lifestyle, have a balanced diet, need of doing physi-cal activities and taking care of our thoughts and emotions. Needo-finances to earn a decent living by judicious spending. Nee-do-morality for living a disciplined life with empa-thy (not lip service of sympathy) towards all around us. calls for under-standing the principle of ‘Needonomics (economics of needs)”. We need resources which are cer-tainly limited and required to be spent judiciously confining to needs. The domain of ‘Needonomics’ as innovation is spiritual, nonviolent and ethical in nature based on the logo of Life Insurance Corpora-tion (LIC) of India ‘Yogak-shemam Vahamya-ham’(Your welfare is our responsibility). ABC of Needonomics with accu-racy, brevity and clarity have to be understood and adopted for the solu-tion of economic and non- economic problems in the society. Needonomics can say no to inward foreign direct investment (FDI) and takes care of the minimum needs of the weaker sections of the society (practising the art of giving with living in minimalism). It is believed by the researcher that the problems including violence, terrorism, exploitation and corrup-tion of all kinds are caused by ‘Greedonomics’ (eco-nomics of greed) and can be reduced if not removed by ‘Needonomics’ which deserve attention and adoption by all the stake-holders including politi-cians ( both in power and opposition) as an innova-tion of India. We need to research and rethink out of the box solutions for the problems of the econ-omy. We have to be com-passionate towards the weaker sections of the society requiring art of giving, possible only by adopting Needonomics. Economy can be people friendly and socially bene-ficial only if undertaken in accordance with NAW approach (Need, Afford-ability and Worth of the goods and services) of international marketing. To become the desired human resources, the stake holders must become street SMART and SIMPLE with spiritual input flowing from the epics including Gita and Anu-Gita.

The habit of observing and recording carefully, in words and in drawing, the works of God in nature and of man in art made travel essential to the process of continual rediscovery which characterizes the work of John Ruskin, causing him to repeatedly redraw his map of Europe. In 1840–1, the young man's Evangelical upbringing and antipathy for the classical inhibited his response to Rome, which remained peripheral to the monumental volumes of the mid-century. Shifting religious views and studies of ancient myth prepared the way for two revelatory visits to Rome in the early 1870s. In Oxford lectures, Ruskin read in Botticelli's frescoes in the Sistine Chapel syntheses of oppositions between schools of art, between the natural and the spiritual, Greek and Christian cultures, Catholic faith and Reforming energies. He also came to feel the ‘power of the place’ in holy places of early Christianity and in continuities of peasant life. Rome is therefore relocated as ‘the central city of the world’, but modern realities menaced this vision. What had been an impoverished backwater was undergoing massive redevelopment and industrialization as the capital of a newly unified state with international ambitions. From these changes, commented on in his monthly pamphlet, Fors Clavigera, Ruskin extracted severe lessons for Victorian Britain. This article is about the ways in which the two types of change interact.

The purpose of the article is to identify the key characteristics of the style of musical crossover and its trends in the development of musical art. The research methodology is based on the use of art history and cultural studies in the study of these issues, and a set of such methods: analytical, comparative, historical in application to the concept of crossover in contemporary music art. The scientific novelty of the work is to generalize the phenomenon of classical crossover, the peculiarities of development in world music art and its impact on the development of pop vocals, expanding knowledge about modern music culture. Conclusions. The emergence of the classical crossover in the musical art of the twentieth century. related to the global issue of mass culture and its convergence with elitist art, including opera, classical music, which was also due to the spread of new trends in the world, variability in the interpretation of classical music, while expanding the audience and thus popularizing the classics. At the end of the XX-beginning of the XXI century, the media, the Internet led to the spread of the classic crossover on a new level and, accordingly, the style of musical crossover becomes an integral part of modern culture, a multicultural environment. mediated by mass art, which, however, does not make them less valuable to humanity. Key words: classical crossover, musical art, mass culture, vocal school.

“The intellect must not only desire surreptitious delights; it must become completely free and celebrate Saturnalia.” (Nietzsche 6) Theory-jamming suggests an array of eclectic methods, deployed in response to emerging conditions, using traditional patterns to generate innovative moves, seeking harmony and syncopation, transparent about purpose and power, aiming for demonstrable certainties while aware of their own provisional fragility. In this paper, theory-jamming is suggested as an antidote for the confusion and disarray that typifies communication theory. Communication theory as the means to conceptualise the transmission of information and the negotiation of meaning has never been a stable entity. Entrenched divisions between ‘administrative’ and ‘critical’ tendencies are played out within schools and emerging disciplines and across a range of scientific/humanist, quantitative/qualitative and political/cultural paradigms. “Of course, this is only the beginning of the mischief for there are many other polarities at play and a host of variations within polar contrasts” (Dervin, Shields and Song). This paper argues that the play of contending schools with little purchase on each other, or anything much, has turned meta-discourse about communication into an ontological spiral. Perhaps the only way to ride out this storm is to look towards communication practices that confront these issues and appreciate their theoretical underpinnings. From its roots in jazz and blues to its contemporary manifestations in rap and hip-hop and throughout the communication industries, the jam (or improvised reorganisation of traditional themes into new and striking patterns) confronts the ontological spiral in music, and life, by taking the flotsam flung out of the spiral to piece together the means to transcend the downward pull into the abyss. Many pretenders have a theory. Theory abounds: language theory, number theory, game theory, quantum theory, string theory, chaos theory, cyber-theory, queer theory, even conspiracy theory and, most poignantly, the putative theory of everything. But since Bertrand Russell’s unsustainable class of all classes, Gödel’s systemically unprovable propositions and Heisenberger’s uncertainty principle, the propensity for theories to fall into holes in themselves has been apparent. Nowhere is this more obvious than in communication theory where many schools contend without actually connecting to each other. From the 1930s, as the mass media formed, there have been administrative and critical tendencies at war in the communication arena. Some point to the origins of the split in the Institute of Social Research’s Radio Project where pragmatic sociologist, Paul Lazarsfeld broke with Frankfurt School critical theorist, Theodor Adorno over the quality of data. Lazarsfeld was keen to produce results while Adorno complained the data over-simplified the relationship between mass media and audiences (Rogers). From this split grew the twin disciplines of mass communication (quantitative, liberal, commercial and lost in its obsession with the measurement of minor media effects) and cultural/media studies (qualitative, post-Marxist, radical and lost in simulacra of their own devising). The complexity of interactions between these two disciplines, with the same subject matter but very different ways of thinking about it, is the foundation of the ontological black hole in communication theory. As the disciplines have spread out across universities, professional organizations and publishers, they have been used and abused for ideological, institutional and personal purposes. By the summer of 1983, the split was documented in a special issue of the Journal of Communication titled “Ferment in the Field”. Further, professional courses in journalism, public relations, marketing, advertising and media production have complex relations with both theoretical wings, which need the student numbers and are adept at constructing and defending new boundaries. The 90s saw any number ‘wars’: Journalism vs Cultural Studies, Cultural Studies vs Cultural Policy Studies, Cultural Studies vs Public Relations, Public Relations vs Journalism. More recently, the study of new communication technologies has led to a profusion of nascent, neo-disciplines shadowing, mimicking and reacting with old communication studies: “Internet studies; New media studies; Digital media studies; Digital arts and culture studies; Cyberculture studies; Critical cyberculture studies; Networked culture studies; Informatics; Information science; Information society studies; Contemporary media studies” (Silver & Massanari 1). As this shower of cyberstudies spirals by, it is further warped by the split between the hard science of communication infrastructure in engineering and information technology and what the liberal arts have to offer. The early, heroic attempt to bridge this gap by Claude Shannon and, particularly, Warren Weaver was met with disdain by both sides. Weaver’s philosophical interpretation of Shannon’s mathematics, accommodating the interests of technology and of human communication together, is a useful example of how disparate ideas can connect productively. But how does a communications scholar find such connections? How can we find purchase amongst this avalanche of ideas and agendas? Where can we get the traction to move beyond twentieth century Balkanisation of communications theory to embrace the whole? An answer came to me while watching the Discovery Channel. A documentary on apes showed them leaping from branch to branch, settling on a swaying platform of leaves, eating and preening, then leaping into the void until they make another landing, settling again… until the next leap. They are looking for what is viable and never come to ground. Why are we concerned to ground theory which can only prove its own impossibility while disregarding the certainty of what is viable for now? I carried this uneasy insight for almost five years, until I read Nietzsche on the methods of the pre-Platonic philosophers: “Two wanderers stand in a wild forest brook flowing over rocks; the one leaps across using the stones of the brook, moving to and fro ever further… The other stands there helplessly at each moment. At first he must construct the footing that can support his heavy steps; when this does not work, no god helps him across the brook. Is it only boundless rash flight across great spaces? Is it only greater acceleration? No, it is with flights of fantasy, in continuous leaps from possibility to possibility taken as certainties; an ingenious notion shows them to him, and he conjectures that there are formally demonstrable certainties” (Nietzsche 26). Nietzsche’s advice to take the leap is salutary but theory must be more than jumping from one good idea to the next. What guidance do the practices of communication offer? Considering new forms that have developed since the 1930s, as communication theory went into meltdown, the significance of the jam is unavoidable. While the jam session began as improvised jazz and blues music for practice, fellowship and fun, it quickly became the forum for exploring new kinds of music arising from the deconstruction of the old and experimentation with technical, and ontological, possibilities. The jam arose as a spin-off of the dance music circuit in the 1930s. After the main, professional show was over, small groups would gather together in all-night dives for informal, spontaneous sessions of unrehearsed improvisation, playing for their own pleasure, “in accordance with their own esthetic [sic] standards” (Cameron 177). But the jam is much more than having a go. The improvisation occurs on standard melodies: “Theoretically …certain introductions, cadenzas, clichés and ensemble obbligati assume traditional associations (as) ‘folkways’… that are rarely written down but rather learned from hearing (“head jobs”)” (Cameron 178-9). From this platform of tradition, the artist must “imagine in advance the pattern which unfolds… select a part in the pattern appropriate to the occasion, instrument and personal abilities (then) produce startlingly distinctive sound patterns (that) rationalise the impossible.” The jam is founded on its very impossibility: “the jazz aesthetic is basically a paradox… traditionalism and the radical originality are irreconcilable” (Cameron 181). So how do we escape from this paradox, the same paradox that catches all communication theorists between the demands of the past and the impossibility of the future? “Experimentation is mandatory and formal rules become suspect because they too quickly stereotype and ossify” (Cameron 181). The jam seems to work because it offers the possibility of the impossible made real by the act of communication. This play between the possible and the impossible, the rumbling engine of narrative, is the dynamo of the jam. Theory-jamming seeks to activate just such a dynamo. Rather than having a group of players on their instruments, the communication theorist has access a range of theoretical riffs and moves that can be orchestrated to respond to the question in focus, to latest developments, to contradictions or blank spaces within theoretical terrains. The theory-jammer works to their own standards, turning ideas learned from others (‘head jobs’) into their own distinctive patterns, still reliant on traditional melody, harmony and syncopation but now bent, twisted and reorganised into an entirely new story. The practice of following old pathways to new destinations has a long tradition in the West as eclecticism, a Graeco-Roman, particularly Alexandrian, philosophical tradition from the first century BC to the end of the classical period. Typified by Potamo who “encouraged his pupils instead to learn from a variety of masters”, eclecticism sought the best from each school, “all that teaches righteousness combined, the complete eclectic unity” (Kelley 578). By selecting the best, most reasonable, most useful elements from existing philosophical beliefs, polymaths such as Cicero sought the harmonious solution of particular problems. We see something similar to eclecticism in the East in the practices of ‘wild fox zen’ which teaches liberation from conceptual fixation (Heine). The 20th century’s most interesting eclectic was probably Walter Benjamin whose method owes something to both scientific Marxism and the Jewish Kabbalah. His hero was the rag-picker who had the cunning to create life from refuse and detritus. Benjamin’s greatest work, the unfinished Arcades Project, sought to create history from the same. It is a collection of photos, ephemera and transcriptions from books and newspapers (Benjamin). The particularity of eclecticism may be contrasted with the claim to universality of syncretism, the reconciliation of disparate or opposing beliefs by melding together various schools of thought into a new orthodoxy. Theory-jammers are not looking for a final solution but rather they seek what will work on this problem now, to come to a provisional solution, always aware that other, better, further solutions may be ahead. Elements of the jam are apparent in other contemporary forms of communication. For example bricolage, the practice from art, culture and information systems, involves tinkering elements together by trial and error, in ways not originally planned. Pastiche, from literature to the movies, mimics style while creating a new message. In theatre and TV comedy, improvisation has become a style in itself. Theory-jamming has direct connections with brainstorming, the practice that originated in the advertising industry to generate new ideas and solutions by kicking around possibilities. Against the hyper-administration of modern life, as the disintegration of grand theory immobilises thinkers, theory-jamming provides the means to think new thoughts. As a political activist and communications practitioner in Australia over the last thirty years, I have always been bemused by the human propensity to factionalise. Rather than getting bogged down by positions, I have sought to use administrative structures to explore critical ideas, to marshal critical approaches into administrative apparatus, to weld together critical and administrative formations in ways useful to both sides, bust most importantly, in ways useful to human society and a healthy environment. I've been accused of selling-out by the critical camp and of being unrealistic by the administrative side. My response is that we have much more to learn by listening and adapting than we do by self-satisfied stasis. Five Theses on Theory-Jamming Eclecticism requires Ethnography: the eclectic is the ethnographer loose in their own mind. “The free spirit surveys things, and now for the first time mundane existence appears to it worthy of contemplation…” (Nietzsche 6). Enculturation and Enumeration need each other: qualitative and quantitative research work best when they work off each other. “Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.” (Hesse) Ephemera and Esoterica tell us the most: the back-story is the real story as we stumble on the greatest truths as if by accident. “…the mind’s deeper currents often need to be surprised by indirection, sometimes, indeed, by treachery and ruse, as when you steer away from a goal in order to reach it more directly…” (Jameson 71). Experimentation beyond Empiricism: more than testing our sense of our sense data of the world. Communication theory extends from infra-red to ultraviolet, from silent to ultrasonic, from absolute zero to complete heat, from the sub-atomic to the inter-galactic. “That is the true characteristic of the philosophical drive: wonderment at that which lies before everyone.” (Nietzsche 6). Extravagance and Exuberance: don’t stop until you’ve got enough. Theory-jamming opens the possibility for a unified theory of communication that starts, not with a false narrative certainty, but with the gaps in communication: the distance between what we know and what we say, between what we say and what we write, between what we write and what others read back, between what others say and what we hear. References Benjamin, Walter. The Arcades Project. Cambridge, Mass: Harvard UP, 2002. Cameron, W. B. “Sociological Notes on the Jam Session.” Social Forces 33 (Dec. 1954): 177–82. Dervin, B., P. Shields and M. Song. “More than Misunderstanding, Less than War.” Paper at International Communication Association annual meeting, New York City, NY, 2005. 5 Oct. 2006 http://www.allacademic.com/meta/p13530_index.html>. “Ferment in the Field.” Journal of Communication 33.3 (1983). Heine, Steven. “Putting the ‘Fox’ Back in the ‘Wild Fox Koan’: The Intersection of Philosophical and Popular Religious Elements in The Ch’an/Zen Koan Tradition.” Harvard Journal of Asiatic Studies 56.2 (Dec. 1996): 257-317. Hesse, Hermann. The Glass Bead Game. Harmondsworth: Penguin, 1972. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” New Left Review 146 (1984): 53-90. Kelley, Donald R. “Eclecticism and the History of Ideas.” Journal of the History of Ideas 62.4 (Oct. 2001): 577-592 Nietzsche, Friedrich. The Pre-Platonic Philosophers. Urbana: University of Illinois Press, 2001. Rogers, E. M. “The Empirical and the Critical Schools of Communication Research.” Communication Yearbook 5 (1982): 125-144. Shannon, C.E., and W. Weaver. The Mathematical Theory of Communication. Urbana: University of Illinois Press, 1949. Silver, David, Adrienne Massanari. Critical Cyberculture Studies. New York: NYU P, 2006. Citation reference for this article MLA Style Stockwell, Stephen. "Theory-Jamming: Uses of Eclectic Method in an Ontological Spiral." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/09-stockwell.php>. APA Style Stockwell, S. (Dec. 2006) "Theory-Jamming: Uses of Eclectic Method in an Ontological Spiral," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/09-stockwell.php>.

The Śrāvastī miracles are among the Buddha’s principal miracles and could even be considered the prototypical Buddhist miracle stories. The narrative of these miracles is preserved in a variety of languages in different versions and is represented in the visual art of ancient India, Central Asia, as well as Southeast Asia. The objective of this study is to reexamine the visual representations of the Śrāvastī miracles found in the period of Dvāravatī, which spanned from the seventh to the eleventh centuries CE, via a comparative study of textual sources and their possible relationships to the 24 artefacts (9 types) found in the central, northeastern and southern parts of present-day Thailand. This study reveals that these artefacts illustrate important narrative elements from various Buddhist traditions, such as: (1) the demonstration of miracles (the miraculous growth of a tree and the multiplication of the Buddha, which comprises the Twin Miracle, the Great Miracle, the creation of the duplicate Buddha, and the performance of a miracle akin to the one experienced in the fourth absorption), (2) the depictions of the (six) defeated non-Buddhist ascetics, (3) of King Prasenajit, and (4) of Brahmā and Indra, bodhisattvas, and unspecified deities. The rich corpus of Dvāravatī artefacts illustrating these miracles implies that the artists might have clearly drawn their inspiration from various textual sources based mostly on the Theravādin and Mūlasarvāstivādin records. It is also possible that they were made based on known scriptures of that time, which in turn were the resultsof mixed interpretations of the Theravādin, Mūlasarvāstivādin, and other unknown texts. Alternatively, it is also possible that the visual representations do not reflect any connection to textual sources, as these artefacts cannot be attached to any particular Buddhist tradition and even less so to a specific “school.” These findings demonstrate how the key elements of a narrative from the literary sources have been transformed through visual representations, evidenced by these Dvāravatī artefacts showing their local formulation as well.

The major objective of this publication is to trace the formation of the term “realism” both in the plastic arts and European artistic culture in general. The need for such an analysis is determined by the current terminology applied to various phenomena in the history of European art, which results in a large degree of ambiguity with respect to the conceptual range. Although the origins of the concept “realism” date back to the scholastic religious philosophy of the Middle Ages, its application in Art Studies has entirely different backgrounds and can actually be traced back to the middle of the 19th century. As far as the Western European art is concerned, this concept is first used with respect to the artistic works by Courbet. In the history of the Russian Art in general and art criticism in particular, the term is commonly used with reference to the emergence and development of the “Natural School” literary movement. At the same time, a thorough analysis of, inter alia, the epistolary and artistic-critical legacy of the leading figures of the Russian culture in the middle and the second half of the 19th century, such as Belinsky, Turgenev, Tolstoy, Stasov, and others, explicitly reveals a rather early application of this term, but mainly in the field of literary rather than artistic criticism. This situation can be explained by the total predominance of literary centrism in the 19th century Russian Art, which, in its turn, was determined by the specific aspects of our country’s social and political development. The explicit translation of this concept into the plastic arts domain was at the same time associated with the use of terminological qualifiers such as “critical”, “didactic”, and “socialist” with respect to the word realism, which resulted in even greater conceptual ambiguity. There is no doubt that the analysis of historical formation and that of characteristics of the figurative-plastic system of realism as a creative method should finally be subject to a comprehensive review, which can allow avoiding its excessively broad terminological interpretation.

In this study, it is examined how children between the ages of 6 and 11, living in Nottingham, England, understand the facts of religion and homeland through Turkey and Islam in their drawings. Art-based research method and semiotic method were used in the research. In drawings, the values, symbols, and concepts that children link with Turkey and Islam and the effect of the Turkish Language and Turkish Culture (TLTC) textbooks presented in the Turkish weekend school on this link were analyzed. 14 girl and 16 boy students participated in the study. The first of the drawings was obtained in 2017 within the scope of the researcher's doctoral study, the second one was obtained in 2021. The drawings of 8 children in 2017 and 18 children in 2021 were evaluated. In the end of the research, iIt was observed that by the age the number of the signs and symbols and clarity of the drawings increased. However, there was a differentiation in the signs, symbols, and intensities reflected in the drawings based on year, gender, and age. Yet it was pointed out that Turkey was mostly associated with the flag, and Islam with mosque. The images and embedded videos used in the textbooks may have played a role in emphasizing on these elements. It was determined that the themes reflected in the drawings show parallelism with the subjects in the TLTC program and textbooks. In particular, the content on the themes of the Gateway to the past, Let's go see it, Holidays and Celebrations contribute to the strengthening of the connection with the elements of cultural and religious identity, which are also seen in the pictures.Despite of positive emotions related to Turkey and Islam, negative emotions such as fear and separation were brought up in the drawings of the boys. This situation may be a result of the developmental characteristics of 6–11-year-old boys, as well as the stimuli exposed at the time of drawings and themes such as Gateway to the past focusing on history may have shaped the children's perception.