Literatura académica sobre el tema "Lilja Art Fund Foundation"

<p>Given its positive economic, social and urban impact, even with low-cost or low-tech materialization, the urban creativity encouraged by the arts is of great interest today. This narrative reviews one of the most prolific careers in this regard addressing the pioneering work by Doris C. Freedman. The late 1960s and the 1970s, in the context of two financial crises, saw a groundbreaking effort to formalize innovative artistic programs that recycled the obsolete city and integrated local communities in the processes. Doris C. Freedman was the first director of NYC Department of Cultural Affairs, the Public Arts Council, and leader of the organization City Walls. These institutions promoted an unprecedented improvement of the public urban life through the cultural action. Such experiences led Freedman to the conception of her last project, the relevant and, still, ongoing Public Art Fund of New York City. This article focuses on her early professional years, when she began and consolidated herself in the task of legitimizing art as an urban instrument for shaping the city. This research provides a contextualized critical analysis on Freedman’s less-known experimental projects before the foundation of the Public Art Fund, enabling an extraordinary source of inspiration for a current creative city-making.</p>

The Massage Therapy Foundation (MTF) serves as a primary steward of massage therapy research; working to fund and advance the science and art of massage therapy for the entire massage community. The development of an updated research agenda is an essential part of furthering the MTF’s responsibility to help grow the massage therapy knowledge base and increase support for the application of quality research. Integrative health and massage community stakeholders are called upon to help move this MTF 2020 Massage Therapy Research Agenda forward. Together we must strive to continue to advance and disseminate new knowledge to all stakeholders including practitioners, students, instructors, researchers, and policy makers.

Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of the museum distinguish Pak Yŏngch’ŏl from contemporary Korean collectors. This study sheds light on Pak Yŏngch’ŏl’s character as an art collector and his perception of the museum based on a detailed investigation of the Tasan Collection housed at the Seoul National University Museum.Pak Yŏngch’ŏl did not actively participate in the appreciation and collection of art until the age of fifty. He began collecting art around 1928, coinciding with his appointment as the vice president of Chosŏn Commercial Bank. Pak then spent the next decade focused on building his collection. This study focuses on Pak Yŏngch’ŏl’s inspection tour of European countries in 1928, which was the catalyst that spurred his considerable devotion to the collection of art. During the tour, Pak Yŏngch’ŏl had the opportunity to experience various museums symbolizing modern civilization in Europe. The Louvre Museum in particular, which was first opened to the public and renown for its outstanding collection, seemed to have informed Pak of the value of art. The cultural treasures exhibited in the public spaces of museums would have reminded Pak that the preservation of historical artifacts is one of the indicators of civilization.In the pre-modern period, the appreciation and collection of calligraphy and painting were typically private activities limited to the individual’s personal domain. However, the political and social changes brought about in the modern period redefined art collecting within a public context. Pak Yŏngch’ŏl, who formed a collection and donated it with the purpose of establishing a museum, epitomizes the shift in perceptions of art collection in Colonial Korea.

Abstract STUDY QUESTION Is the first-time redeemed prescription of antidepressants predicted by the level of infertility-related stress in women seeking ART treatment? SUMMARY ANSWER Infertility-related stress in the personal and marital domains and general physical stress reactions were significant predictors of a first redeemed prescription of antidepressants after ART treatment in this 10-year follow-up cohort study. WHAT IS KNOWN ALREADY The literature has found inconsistent findings regarding the association between infertility-related stress and later psychological adjustment in fertility patients. The association between infertility-related stress and later prescription of antidepressants had never been explored in long-term cohort studies. STUDY DESIGN, SIZE, DURATION All women (n = 1169) who participated in the Copenhagen Cohort Multi-centre Psychosocial Infertility (COMPI) cohort study in the year 2000 (questionnaire data) were linked with the register-based Danish National ART-Couple (DANAC) I cohort, which includes women and their partners having received ART treatment from 1 January 1994 to 30 September 2009. The study population were among other national health and sociodemographic registers further linked with the Danish National Prescription Registry. PARTICIPANTS/MATERIALS, SETTING, METHODS Women initiating ART treatment were followed until they had redeemed the first prescription of antidepressants or until 31 December 2009. Logistic regression analyses were conducted to test the association between general physical stress reactions and infertility-related stress in the personal, marital and social domains, respectively, and a future redeemed prescription of antidepressants. Age, education level, marital status, number of fertility treatments prior to study inclusion and female infertility diagnosis were included as covariates in the adjusted analyses. Further, the analysis was stratified according to childbirth or no childbirth during follow-up. MAIN RESULTS AND THE ROLE OF CHANCE The final sample consisted of 1009 women with a mean age of 31.8 years. At study inclusion, women had tried to conceive for an average of 3.45 years. At 10-year follow-up, a total of 13.7% of women had a first redeemed prescription of antidepressant medication. The adjusted odds ratio (OR) showed that high general physical stress predicted the later prescription of antidepressants (adjusted (adj) OR = 2.85, 95% confidence interval (CI) 1.96–4.16). Regarding infertility-related stress domains, high personal stress (adj OR = 2.14, 95% CI 1.46–3.13) and high marital stress (adj OR = 1.80, 95% CI 1.23–2.64) were significantly associated with the later prescription of antidepressants. Social stress was not significantly associated with the future redeemed prescription of antidepressants (adj OR = 1.10, 95% CI 0.76–1.61). Among women not having achieved childbirth during follow-up, the risk of a first-time prescription of antidepressants associated with infertility-specific stress was higher compared to the risk among women having childbirth during follow-up. LIMITATIONS, REASONS FOR CAUTION This study did not account for potential mediating factors, such as negative life events, which could be associated with the prescription of antidepressants. Second, we are not able to know if these women had sought psychological support during follow-up. Additionally, antidepressants might be prescribed for other health conditions than depressive disorders. WIDER IMPLICATIONS OF THE FINDINGS Our results suggest that women presenting high infertility-related stress in the personal and marital domains were at higher risk of redeemed first-time prescription of antidepressants after ART, independently of having delivered a child or not after initiation of ART treatment. Women would benefit from an initial screening specifically for high infertility-related stress. The COMPI Fertility Problem Stress Scales can be used by clinical staff in order to identify women in need of psychological support before starting ART treatments. STUDY FUNDING/COMPETING INTEREST(S) This study was supported by the Portuguese Foundation for Science and Technology (FCT) under an individual doctoral grant attributed to the first author (SFRH/BD/103234/2014). The establishment of the DANAC I cohort was funded by Rosa Ebba Hansen’s Fund. The COMPI Infertility Cohort project was supported by The Danish Health Insurance Fund (J.nr. 11/097–97), the Else and Mogens Wedell-Wedellsborgs Fund, the manager E. Danielsens and Wife’s Fund, the merchant L.F. Foghts Fund, the Jacob Madsen and Wife Olga Madsens Fund. The authors have no conflicts of interest. TRIAL REGISTRATION NUMBER NA

Abstract STUDY QUESTION Is ART related with the association of American Heart Association (AHA) ideal cardiovascular health score and markers of subclinical atherosclerosis? SUMMARY ANSWER The associations between AHA score and markers of subclinical atherosclerosis in ART and non-ART groups were similar in magnitude. WHAT IS KNOWN ALREADY Long-term consequences of ART on cardiovascular health are unknown. STUDY DESIGN, SIZE, DURATION The study cohort for the cross-sectional analyses consisted of 172 ART-conceived and 78 non-ART conceived individuals of same age (range 22–35 years). PARTICIPANTS/MATERIALS, SETTING, METHODS Cardiovascular risk factor status was evaluated with American Heart Association (AHA) ideal cardiovascular health score consisting of seven factors (body mass index, blood pressure, total cholesterol, glucose, diet and physical activity, non-smoking). Carotid artery intima-media thickness (cIMT), arterial pulse-wave velocity (PWV) and retinal microvascular parameters were evaluated as markers of early atherosclerosis. Group comparisons in continuous variables were performed with t-tests. For categorical variables, comparisons were performed with chi-square tests. The relationships between AHA score and the markers of atherosclerosis were examined with linear regression analyses adjusted for age and sex. MAIN RESULTS AND THE ROLE OF CHANCE There was no difference in AHA ideal health score between the ART and non-ART groups; mean (SD) scores were 4.1(1.4) versus 4.0(1.5), respectively, P = 0.65. No differences were observed between groups for any individual ideal health metric (P always &gt;0.2). AHA score was not associated with cIMT or retinal measures in either group (P always &gt;0.05). An inverse association was observed between AHA score and PWV in the ART group (beta (95% CI) −0.18(−0.26 to −0.10)). A numerically similar relationship was observed in the smaller non-ART group (−0.19(−0.39 to 0.01)). LIMITATIONS, REASONS FOR CAUTION Even though this cohort is among the largest ART studies with extensive cardiovascular data, the sample is still relatively small and the statistical power is limited. As the study population was still in early adulthood, we were not able to evaluate the associations with clinical cardiovascular events, but utilized non-invasive methods to assess early markers of subclinical atherosclerosis. WIDER IMPLICATIONS OF THE FINDINGS These findings suggest that ART-conceived individuals do not have increased vulnerability for cardiovascular risk factors. STUDY FUNDING/COMPETING INTEREST(S) This study was funded by a National Health & Medical Research Council Project Grant (APP1099641), The Royal Children’s Hospital Research Foundation, Monash IVF Research and Education Foundation, and Reproductive Biology Unit Sperm Fund, Melbourne IVF. The authors have no conflicts of interest relevant to this article to disclose.

Associated in workshops or as freelancers, working mainly in the city of Chișinău as one of the most important socio-economic and cultural centers of the country, jewelers and craftsmen have left an indisputable legacy, conceived in many articles of historical, artistic and memorial value. The 1972–1991 years were marked by the founding of the Jewellery Workshop of the Plastic Fund of the UNAP (1972), which allowed the concentration and unification of the efforts of the few artists who artistically processed metals. The jewelers worked in the Jewellery Workshop, promoting and continuing the traditions of the local school, they created decorative articles and author jewelry. They created professional articles, from an artistic and technological point of view, and participated at exhibitions. The aim of this article is to bring into prominence the name of a few artists from MSSR, who worked at the Jewellery Workshop since its foundation and had an essential impact in the assertion of the art of metals in the MSSR. The local school included craftsmen, who studied at artistic educational institutions from MSSR, as well as those self-taught in the metal art field. Names like Ovidiu Alexeenco, Valeriu Vinitchi, Vasile Shocin hold a special place alongside such artists, as Oleg Barascov, Gheorghe Cojusnean, Vladimir Kalasnikov, Semion Odainic, Natalia Vavilina, Victor Rotari etc., who developed together the local school in the field of metal art.

The subject of this article is the stucco decoration on the facade of the administrative building of the Art Foundation in Khabarovsk. The description and compositional analysis of the relief decorations of the facade of the building are presented. Sketches, drawings, photographs from the archive of the artist Genendlis M.A. are published, which allowed to establish the authorship of the studied decoration of the building and the time of its creation. In Khabarovsk, a number of pre-revolutionary buildings and many buildings built in the 1930s -1950s, the so-called "Stalinist style", are decorated with stucco decor. Mainly these are stucco plant garlands with festoons, traditional rosettes, sometimes with Soviet symbols, made on the basis of albums of standard samples. A sample of the author's stucco decoration on the facade of the administrative building of the Khabarovsk branch of the Art Fund is a unique object of urban architectural heritage, an example of a decorative work designed for a specific architectural object. The reliefs placed on the facade gave the building its originality and became artistic accents in the surrounding urban environment. The name of the author of the reliefs was forgotten during the seven decades that have passed since their creation in the late 1950s, but thanks to the study of archival materials, the author was identified - the decorator and sculptor M. A. Genendlis, who worked for a long time in Khabarovsk in the field of theatrical and decorative art, sculpture and the creation of architectural decor.

2022 marks the 90th anniversary of the founding of the professional Creative Union of Soviet Artists (currently its successor, the Union of Artists of Russia). The study object of this article is the formation of the creative organization of artists in Sverdlovsk. The research task is to examine a set of ideological, social, cultural, and organizational events that accompanied the formation of the union at an early stage, before and after its establishment. Currently there are no historical and art works on the designated topic. The source and information basis for the article is new sources related to the object of research. In 1983, the Sverdlovsk Region State Archive conducted expert evaluation of the document fund of the Sverdlovsk branch of the Union of Soviet Artists in which some of the materials of the fund were destroyed for reasons that are not entirely clear. The inventory was thoroughly revised: the available meeting minutes, accounting reports, and work plans of the creative organization for 1932–1934 were liquidated. Thus, to date, the direct factual sources containing information about the first years of the creative organization of artists in Sverdlovsk are almost completely lost, with the exception of a few documents of 1934. This narrows our current understanding based on authentic historical data and not on assumptions about what was happening in the union and around it in the first year of its existence. Nevertheless, due to the presence of other, additional sources of the 1930s, there is some direct and indirect evidence of the historical course of events around the formation of the Ural artists’ creative organization. The information gleaned from the totality of these materials has formed the basis of the substantive part of this article. The purpose of the article is to reconstruct the course of historical events around the foundation and the first activities of the branch of the Union of Soviet Artists in Sverdlovsk.

The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.

On 22 May 1938, Stanislavsky gathered his group of eleven assistant-pedagogues at the Opera-Dramatic Studio for a last collective class. The Studio was already free for the summer vacation after the tumultuous first show of Chekhov’s Three Sisters, opened only to a small number of guests a week before. Mikhail Kedrov had rehearsed the performance with the students for the preceding three years, and it was doomed to become the first public presentation of the so-called ‘method of physical actions’. Nevertheless, the presentation brought nothing more than doubts about the work done, and Stanislavsky felt compelled to call upon the pedagogues to understand what had happened. After briefly presenting his opinion of the work that had been shown, he started to elaborate on the technical and artistic achievements of the Studio. Stanislavsky began his talk in its stenographic transcript (File No. 21179 in the Stanislavsky Fund of the Moscow Art Theatre Museum Archives) with: ‘Everything now is lost. The technique and all the rest. I don’t see any foundation … any more. You should now start by the critique of the method I have been experimenting on.’ This article analyzes Stanislavsky’s documented talk, showing that he was not convinced that he had a new methodology, let alone one that synthesized his life-long theatre experiments. It seeks to present evidence that both the Physical Action and Active Analysis methodologies derived from Stanislavsky’s thought post mortem were developed only as two possible paths from his experiments, but were not the telos of his thought.

Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural institutions as postwar alliances formed between the United States and Israeli governments. This chapter further shows Sokolow’s role in disseminating American modern dance through the bodies of her students abroad, through her work with the Inbal Yemenite Dance Group (Inbal Dance Theater) and Lyric Theatre. In turn, the way those dancers performed Graham’s technique and Sokolow’s choreography changed American modernism.

From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was twofold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but also, in doing so, they determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants’ sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how “expertise” served as an exclusionary form of cultural and social capital that prevented racial minorities and nondominant groups from fully participating.

esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens. Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic. Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe.

Chapter 1 traces Paul Rusch’s early life in Louisville as the son of a grocer and as a soldier in World War I. After the war, Rusch led an effort to establish a bohemian art colony in Louisville, though his venture eventually went bankrupt and landed Rusch in court. Rusch left Kentucky and then on a lark volunteered to help rebuild the Tokyo and Yokohama YMCA branches after the Great Kanto Earthquake. His connections at Holy Trinity Church in Tokyo led to positions on the Rikkyo University faculty and as a fund-raiser for St. Luke’s International Hospital in Tokyo. As Rusch worked to convert young Japanese men to Christianity by relaunching the Brotherhood of St. Andrew, Japan was swept up in political and social turmoil and militarism. Along the way, he staged the first organized game of American football in Japan and laid the foundation for Japan’s collegiate football league. Dr. Rudolf Teusler mentored Rusch during tours in America, honing Rusch’s skills in fund-raising, expanding his network to include wealthy patrons, and shaping Rusch’s staunch anti-Communist views.

Abstract After her death in October 1904, Emilia Dilke was memorialized as an “exceptionalwoman” by diverse mourners. Involved with the Women’s Trade Union League fromits foundation in 1874, Dilke had been its president from 1886 until her death;accordingly, the Women’s Trade Union Review, the League’s journal, grieved as “her colleagues in the work to which she devoted the larger part of her life and the choicest powers of her ®ne intellect,” regretting the loss of “one . . . ®tted, as few human beings . . . to ®ll the post of leader in a crusade against the tyranny of social tradition and the callousness of social indifference.” Her funeral was attended by representatives of the Trades Union Congress and the Miners’ Federation and by such trade-union luminaries as Mary Macarthur and Ben Tillett. Their testimonials spoke of tradeunionismas “[her life’s] chief enthusiasm, its ruling aim and purpose.” The Reviewprinted letters of mourning from dozens of individuals and organizations in the labor movement along with plans for a memorial fund to support the League’s work. But a year after her death, an anonymous article entitled “The Art-Work of Lady Dilke”appeared

Meritocracy flourished most luxuriantly in Harvard’s professional schools. The Big Four—the Graduate School of Arts and Sciences and the Schools of Law, Medicine, and Business—threw off the constraints of lack of money and student cutbacks imposed by World War II. The smaller professional schools—Public Health and Dentistry, Education, Divinity, Design—shared in the good times, though their old problems of scarce resources and conflicted missions continued to bedevil them. The major alteration in the Harvard postgraduate scene was the establishment of the Kennedy School of Government. By the time Derek Bok—as well disposed to the Kennedy School as Conant was to Education and Pusey to Divinity—became president in 1971, this new boy on the Harvard professional school block was well situated to capitalize on his good favor. The Graduate School of Arts and Sciences remained, as in the past, rich in renown, poor in fund-raising and administrative autonomy. Between 1952 and 1962, fewer than 5 percent of GSAS alumni donated a total of about $60,000; during the early sixties giving went down to $3,000 a year. Its dean had little or no budgetary or curricular control; its faculty, curriculum, and student admissions were in the hands of the departments. In 1954 Overseer/Judge Charles Wyzanski grandly proposed that admissions to the Graduate School be sharply cut back. The reduction, he thought, would free up the faculty for more creative thought, improve undergraduate education, and upgrade the level of the graduate student body. But the post–Korean War expansion of American higher education led to boom years for the Graduate School. In 1961, 190 male and 60 female Woodrow Wilson Foundation Fellows, more than a quarter of the national total, chose to go to Harvard or Radcliffe; 80 of 172 National Science Foundation grantees wanted to go to Harvard. A 1969 rating of the nation’s graduate programs gave Harvard Chemistry a perfect 5, Mathematics 4.9, Physics, Biochemistry, Molecular Biology, History, and Classics 4.8, Art History and Sociology 4.7, English and Spanish 4.6, Philosophy and Government 4.5. Impressive enough, all in all, to sustain the faculty’s elevated impression of itself. But in the late sixties the Graduate School bubble deflated. Government aid, foundation fellowships, and college jobs declined; student disaffection grew.

AbstractThe objective of this paper is to introduce CyCLOPS, a novel strategic research infrastructure unit, and present its current progress of implementation, and integration in the National geodetic, geophysical and geotechnical infrastructure of the government-controlled areas of the Republic of Cyprus. CyCLOPS is co-funded by the European Regional Development Fund and the Republic of Cyprus through the Research and Innovation Foundation under the grant agreement RIF/INFRASTRUCTURES/1216/0050. CyCLOPS is developed via the collaboration of the Cyprus University of Technology (CUT) and the German Aerospace Center (DLR), and supported by the Cyprus Geological Survey Department and the Department of Lands and Surveys. The main objective of CyCLOPS is to establish an integrated infrastructure for space-based monitoring of geohazards using the most prominent earth observation technologies (EO), such as GNSS and InSAR. Furthermore, the infrastructure will densify and form the backbone for the definition of the next generation national datum of the Republic of Cyprus. Eleven Tier-1/2 state-of-the-art GNSS CORS, precise weather stations, tiltmeters and specifically designed InSAR triangular trihedral corner reflectors will be deployed, in a collocated fashion, at selected locations throughout the government-controlled areas of Cyprus. The collocated configuration will be established and installed to be compliant with the most stringent CORS monumentation specifications, support all current GNSS constellations and SAR missions. Finally, one of CyCLOPS’ fundamental aims is to actively contribute to the on-going efforts and growing demand for more precise positioning services and high-quality modern reference frames, in conformity with the recommendations of the UN-GGIM (and its Subcommittee of Geodesy) to establish and enhance national geodetic infrastructures to support the sustainable management of geospatial information on the changing Earth.

An important area of contemporary linguistic research concerns language as a reflection of national mentality, worldview, and culture, with specific focus on the consideration of linguistic and cultural categories in non-related languages. The study's object is the precedent phenomena (PP) present in both English and Ukrainian languages, and the research subject is the process of PP transitioning into the phraseological resources of both languages. The purpose of the research is to analyse the ways of transition of the PP (precedent name, situation and statement) into the phraseological fund of the English and Ukrainian languages. The resolution of a research problem dictates the presentation logic of the studied material within the paper. The aims of this study include defining a precedent phenomenon, outlining and detailing the stages of PP transition into phraseological funds of the English and Ukrainian languages, and exposing the specifics of precedent phenomena phraseologicalisation with regards to structural differences. The study methodology is grounded in the descriptive, transformational analysis, component analysis, and comparative methods. These are employed to distinguish between the universal and national precedent names, and to identify similarities and differences in the mechanism by which the PP transitions into the phraseological funds of the English and Ukrainian languages. The analysis of phraseological units with a precedent component indicates that prevalent precedent phenomena originating from mythological, biblical, ancient texts, and prior occurrences are primarily phraseologized, forming the "universal" cognitive foundation. However, the subject of the study is nationally precedent-setting РPs (which are known to an average representative of the Anglo-American or Ukrainian linguistic community and included in the national cognitive base) as representatives of national culture. The research material presents phraseological units of the English and Ukrainian languages containing a component-precedent phenomenon, totalling 125 units (76 units in English and 49 in Ukrainian). The results of the study show that the process of transition of precedent phenomena into the phraseological fund of the language takes place in two stages. First of all, there appears a certain unit (a name, a text) that is fixed in the language and to which native speakers refer repeatedly in the future. A text or a name thus becomes an element of the cognitive base of an average representative of a given linguistic community, i.e., a precedent phenomenon. In the second stage, PP phraseologisation takes place; such a unit is included in the phraseological fund of the language, accordingly it becomes a phraseologism, while remaining a precedent phenomenon. A precedent name (PN) is an individual name associated with a famous text or precedent-setting situation. The structure of a precedent name comprises differential features (the basis of PN perception) and attributes (periphery). The meaning of a phraseological unit with a component-precedent name evolves from a differential feature that embodies the object's characteristics (personality, appearance) or becomes relevant owing to a precedent situation. A precedent situation is an "ideal" situation that took place in real life (historical precedent situation) or one that belongs to the virtual reality of man-made art. The cognitive base stores a set of differential features of a precedent situation, universal for all representatives of a given linguistic and cultural community. Minimised knowledge of a specific situation (historical or virtual), compared to the system of evaluation of ethnicity, becomes the basis for the formation of phraseological units built on the basis of precedent situations. A precedent statement is a product of speech and thought activity, an integral and self-sufficient unit that can be presented as: 1) a precedent text (or part of it), for example, children's poems, proverbs; 2) a linguistic unit (phrase, sentence) related to a precedent situation. Precedent-setting expressions are fixed in the phraseological fund by metaphorising the direct meaning and preserving knowledge about the precedent-setting phenomenon. Practical implications. The practical significance of the work is determined by the fact that the conclusions formulated as a result of the study can be used for further study of precedent phenomena, and the proposed methodology for the study of PP can be useful for the analysis of other linguistic and cultural categories. The materials of the work can be used in the courses "General Linguistics", "English Lexicology and Stylistics", "Linguistic Studies", special courses and special seminars on "Comparative Linguistics", "Intercultural Communication", as well as in lexicographic practice when compiling dictionaries of precedent phenomena. Value/оriginality. The scientific novelty of the work lies in the new theoretical positions of linguocultural studies on precedent phenomena. The characteristics of the onomastic material in phraseological funds and the problems related to the essential features of the nature of precedent phenomena have been further developed.