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1
Onderka, Pavel, and Vlastimil Vrtal. "Preliminary Report on the Twentieth Excavation Season of the Archaeological Expedition to Wad Ben Naga." Annals of the Náprstek Museum 43, no. 1 (2022): 79–106. http://dx.doi.org/10.37520/anpm.2022.006.
Повний текст джерелаАнотація:
The twentieth excavation season of the Archaeological Expedition to Wad Ben Naga primarily focused on the continued excavations of the so-called Isis Temple (WBN 300). The excavation focused on the area in the rear of the temple explored by the Royal Prussian Expedition in 1844. Altogether ten rooms were revealed which allowed the assessment of the whole complex inner disposition of the temple. During the excavation, various pieces of the original cultic equipment were recovered, including pieces of Meroitic statuary and a new lion altar (Altar D). The original locations of the so-called Altars A, B, and C, discovered by the Royal Prussian Expedition, were identified. Outside the so-called Isis Temple, the work focused on uncovering of the Stone Building (WBN 1100) identified next to structure WBN 250.
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Jakutowicz, Joanna. "Der gotische Muttergottes‑Altar von Guttstadt (1426)." Studia z Dziejów Średniowiecza, no. 25 (September 16, 2022): 144–69. http://dx.doi.org/10.26881/sds.2022.25.07.
Повний текст джерелаАнотація:
This article offers a stylistic analysis of the Marian altar from the church of the Redeemer and All Saints in Dobre Miasto in the voivodship of Warmia and Masuria. The altar was set up in 1426 as an altar for morning mass. It remains incomplete to this day: several Gothic figures were replaced by later pieces of sculpture, and the altar was provenance is also questionable of the centrally located sculpture of Mary and Child.
The literature up to now has pointed out stylistic analogies with the altar in Pörschken (Nowo‑Moskowskoje), at present in the collection of the Castle Museum in Malbork, and with the altar from Sokolica (Falkenau), which is at present in the collection Museum of the Archdiocese of Warmia in Olsztyn. Stylistic analysis makes it possible to establish that the closest analogy to the Dobre Miasto altar is the altar from Pörschken, while the somewhat later retable from Sokolica has many features in common with the altar from Rauma (Finland), which was a Prussian export.
It is, however, an open question as to the location of the Prussian provincial woodcarving workshop that probably produced the altars in Dobre Miasto and Pörschken, drawing on the at that time rather old‑fashioned tradition of figures of the Madonna on lions. The literaturę suggests Malbork or Gdańsk, but because of stylistic similarities to the Elbląg Apostolic College and the links of the Elbląg Rector Mikołaj Wulsack with Dobre Miasto, Elbląg, too, must be considered.
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Prampolini, F., A. M. Oteri, S. Caporale, S. Mazzeo, and F. Muscherà. "FROM VIRTUAL TO MATERIAL RESTORATION. A PROPOSAL FOR THE REASSEMBLY OF THE ALTAR OF THE HOLY HEART OF MARY IN THE CATHEDRAL OF SANTA MARIA ASSUNTA IN GERACE (REGGIO CALABRIA, ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 15, 2017): 305–12. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-305-2017.
Повний текст джерелаАнотація:
The present study explores the relationship between the new frontiers of architectural survey and architectural restoration. The result is a project for the reassembly of the Altar of the Holy Heart of Mary in the Cathedral of Gerace, in the province of Reggio Calabria. It was dismantled in the last century with the purpose to restore the “solemn and sober aspect” of the church during the medieval age. The idea was born in the sphere of a multidisciplinary didactic experience, which involved history, conservation, digital modelling, design and enhancement of cultural heritage. The process, from analyses to project, followed four steps: realization of a systematic photogrammetrical survey of each architectural element of the 18th century altars of the cathedral, which were dismantled in the last century, with high precision photomodelling techniques; early identification of the single objects, positioning structured QR-CODE with metadata and short description directly in the shooting phase; pre-cataloguing phase, implemented by the compilation of single cards regarding each piece, using a redrafted version of the ICCD OA card (artwork 3.00 version); a proposal for the reassembly of the altar of the Holy Heart of Mary. The reassembly is conceived as an alternative to the reconstruction of the altar “as it was”, using a steel structure that is partially visible, which was studied to support and “exhibit” the marble pieces. The availability of numerical models for each piece facilitated, on one side, weight distribution analysis and, consequently, correct dimensioning of the support structure and, on the other side, interactive simulation processes for design optimisation and <i>aesthetic</i> evaluation.
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Lazarovici, Gheorghe, and Cornelia Magda Lazarovici. "Tronurile din sanctuare comunitare și casnice. Opinii și comentarii." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 361–90. http://dx.doi.org/10.47802/amet.2016.30.22.
Повний текст джерелаАнотація:
In this study the authors would like to extend throne notion with examples from religious life of Neolithic and Copper Age communities. Throne with its symbols is present starting with the earliest Neolithic horizons of Anatolia until center of Europe, in 7-5 millennia. We have analyzed some important discoveries related with monumental pieces from sanctuaries, as well as those discovered in community altar or domestic sanctuaries. These monumental pieces from sanctuaries reflect the place of the divinity or her representation in the sanctuary and their role in religious ceremonies. For many of the presented pieces we offer new hypothesis and opinions regarding their functionality. We also refer to some idols types that are sitting on thrones representing divinities or priestess that represent the image of the divinity.
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Goja, Bojan. "Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli." Ars Adriatica, no. 2 (January 1, 2012): 203. http://dx.doi.org/10.15291/ars.449.
Повний текст джерелаАнотація:
Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli). Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar. The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented.
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Blume, Henry S. "The Furniture of the Gods: The Problem with the Importation of ‘Empty Space and Material Aniconism’ into Greek Religion." Archiv für Religionsgeschichte 17, no. 1 (December 1, 2016): 55–68. http://dx.doi.org/10.1515/arege-2015-0004.
Повний текст джерелаАнотація:
Abstract The field of aniconism has begun to receive more attention within the past 20 years. In Travis Mettinger’s No Graven Image? Israelite Aniconism in Its Ancient Near Eastern Context (1995), he subdivided the field into two distinct categories: material aniconism and empty space aniconism. The former typically refers to stelai, unhewn pieces of wood etc., whereas the latter may refer to empty thrones, a saddled horse without a rider, or the Holy of Holies in the Temple in Jerusalem. In short, empty space aniconism refers to a space where the god is perceived to be positioned. This paper seeks to answer the question: how useful are these categories? To answer it, the altar is offered as one possible type of aniconism. This was first proposed by Milette Gaifman in her 2005 dissertation, refined and expanded in Aniconism in Greek Antiquity (2012), where she makes the case that some altars can be considered as examples of material aniconism. This paper starts from the opposite premise: that altars can be considered forms of empty space aniconism. After demonstrating many instances where altars do fit the criteria of empty space aniconism, examples that might fit Gaifman’s premise are addressed as well. This paper ultimately arrives at the conclusion that altars fall into both categories, thereby showing that these categories are insufficient. Altars, like so many other forms of aniconism, are merely a means to denote divine presence.
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Bruyn, J. "Het altaar van het Antwerpse kuipersgilde en Quinten Massys'Bewening te Ottawa." Oud Holland - Quarterly for Dutch Art History 116, no. 2 (2003): 65–95. http://dx.doi.org/10.1163/187501703x00206.
Повний текст джерелаАнотація:
AbstractThe Altar of the Antwerp Coopers' Guild and Quinten Massy In 1938 two distinguished scholars, Max J. Friedländer and Floris Prims, one a reknowned connoisseur of Early Netherlandish painting and the other an indefatigable digger in the Antwerp archives, published articles that might well have bearing on the same picture, yet have never been connected either then or later. From the evidence collected by Prims (notes 2 to 7) it appears that the Antwerp coopers, after having separated from the joiners with whom they had shared a guild until 1497, obtained an altar of their own in Our Lady's church. A picture standing on this altar is mentioned first in 1655. It is described as representing The 'Afdoening' of Our Lord from the Cross with two doors (the term 'afdoening' being used to describe a Deposition as well as a Lamentation). An inventory of 1660 gives the same description with the addition 'made by Quinten Massys'. The altar survived until about 1680, when a new marble altar with sculpture and paintings was ordered; this was completed by 1684 and the old altar-piece was hung above the entrance door of the guild room without the doors being mentioned. It was sold in 1697 when the guild had run into financial trouble. Half a century later the painter Jacob de Wit still knew of it and described it as showing 'figures smaller than life, Christ taken from the Cross with Our Lady, St Mary Magdalen and others, (....) by Quinten Massys, the second painting he did, not quite as good as the one in the Cirumcision chapel [originally on the altar of the joiners; fig. 2]; it was sold but is still in the town' (note 3,). Friedländer, for his part, concluded that the Lamentation which was to be purchased by the National Gallery of Canada in 1949 'cannot be regarded as anything but an early work by Quentin' (note I). This attribution, which had earlier been refuted by Baldass, was then disputed by Silver (note II). This author considered the Ottawa picture a somewhat later pastiche after a lost Lamentation in Massys' mature style of which a fragment in Berlin, showing s'Lamentation in Ottawa a weeping woman (wrongly called Mary Magdalen), resembles one of the mourning women in the Ottawa Lamention (fig. 7). This theory is however contradicted by the picture's quality and seems to be prompted by a mistaken reconstruction of Massys' early development (see below). Similarities between the Lamentation and other early works that can be ascribed tot Massys (figs 3 and 17) are obvious though the course of his development prior to the great altar-pieces of 1507-1511remains in many respects unclear. When attempting to bring some light to the chronology of Massys' works from about 1491 (when he left Louvain for Antwerp at the age of 25) to 1507, one may take into account three medallions that have been attributed to him, two of them being dated 1491 and one 1495 (notes 18-24). They may be loosely associated with features that recurr in the Lamentation. An Italian-style medal of William Schevez, archbishop of St. Andrews, who stayed for a few months at Louvain in 1491, raises the question of whether the same sitter may be recognised in a painted portrait, which would then be Quinten's earliest datable picture (figs 8 and 9). The portrait of the artist himself, dated 1495 (fig 10), was in great esteem and provided the prototype for a print by Jheronimus Wierix (published by Lampsonius in 1572), where the bust was extended to a half-figure; it was also copied in an oval painting that was reproduced in a work by Frans Francken II (figs. I and IIa) and it was probably that very painting which was owned by the Antwerp guild of St. Luke and was considerd an original self-portrait when it was confiscated by the French in 1794 (and subsequently disappeared). It seems likely that the medallion's date of 1495 provides a terminus post quem for the Ottawa Lamentation. A more precise date may be inferred from the obvious borrowings from the Lamentation found in a large triptych in Lisbon (figs 13 and 14). This work may be attributed to one 'Eduwart Portuga
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Nurova, Gerlya. "Museum of Kalmyk Scientific Center (RAS): Revisiting Some Buddhist Exhibits Associated with Je Tsongkhapa." Бюллетень Калмыцкого научного центра Российской академии наук 4, no. 20 (December 30, 2021): 72–93. http://dx.doi.org/10.22162/2587-6503-2021-4-20-72-93.
Повний текст джерелаАнотація:
Introduction. The Museum of Kalmyk Scientific Center (RAS) houses quite a number of sculptural and pictorial images associated with the tradition of Je Tsongkhapa (1357–1419; Tibetan Buddhist scholar to have founded the Gelug that gained widest distribution among Mongolic peoples) and delivered by different donators or from as various places. Goals. The articles analyzes several pieces of Buddhist art contained in the Museum’s collections and somewhat tied to the historical personality. Results. The analysis of one ‘altar group’ compiled from three images — those of Tsongkhapa and his two disciples — shows that the tradition of Mongolia’s Dorbets that share common ancestry with contemporary Kalmyks depicts the imagery with greater detail and semantics as compared to similar survived Kalmyk samples. However, the insight into the Kalmyk tradition attests to that the people were widely worshipping the Buddhist Teacher — founder of the Gelug.
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Ridgway, Brunilde Sismondo. "The Ludovisi “Suicidal Gaul” and his wife: bronze or marble original, Hellenistic or Roman?" Journal of Roman Archaeology 31 (2018): 248–58. http://dx.doi.org/10.1017/s1047759418001307.
Повний текст джерелаАнотація:
From 1981 to 2002, in various lectures and writings, I presented my suggestion about the “Roman” conception of the Ludovisi Suicidal Gaul, without eliciting positive responses. What has prompted me to re-open this issue after the passing of so many years? Perhaps the catalyst was a major exhibition — Pergamon and the Hellenistic Kingdoms of the Ancient World — held at the Metropolitan Museum of Art in New York from April 18 to July 17, 2016, together with its impressive catalogue. There, an essay by M. Papini reviewed present knowledge about the victory dedications of the Attalids and the stone bases for them erected at Pergamon within the precinct of Athena Nikephoros. Although admitting that certainty was impossible and that serious difficulties existed about previously attempted reconstructions, he reproduced two drawings that showed the Ludovisi Gaul atop the large cylindrical monument as well as on the long rectangular pedestal “leaving aside [other] improbable attempts … and even more the interpretation of the marble pieces as Roman works evoking Pergamon ‘in the grand manner’.” The Ludovisi Gaul was not part of the New York exhibition. Its companion piece, the Dying Gaul collapsing on a broken trumpet, did receive a catalogue entry (by E. Polito) that reiterated the difficulty of visualizing the original placement. Yet these two Gauls (the “Trumpeter” and the Ludovisi Gaul) have joined the sculptures from the Pergamon Great Altar as virtual touchstones for our understanding of Pergamene style even though they may not be “Greek” at all, let alone Pergamene.
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Peña Velasco, Concepción, Josefina García León, and María de los Ángeles Riquelme Gómez. "ANÁLISIS MEDIANTE GEOMÁTICA DE TRES RETABLOS BARROCOS EN EL SURESTE ESPAÑOL: LA SINGULARIDAD DE UN PATRIMONIO RELIGIOSO DE INTERÉS TURÍSTICO." Cuadernos de Turismo, no. 48 (December 10, 2021): 429–55. http://dx.doi.org/10.6018/turismo.493021.
Повний текст джерелаАнотація:
La documentación gráfica aportada por las nuevas tecnologías posee un enorme potencial para la investigación, docencia y difusión, que, en este caso, se ha aplicado a tres retablos del siglo XVIII, con categoría de BIC. Se ha realizado una modelización con Fotogrametría y Láser escáner. Los resultados, interpretados y debatidos por profesionales diversos, proporcionan información útil para el estudio del bien y permiten afrontar actuaciones de conservación y sensibilización patrimonial y plantear acciones destinadas a personas con discapacidad. Se hace un análisis comparativo y se reflexiona sobre la divulgación óptima como recurso turístico a partir de la documentación y análisis efectuados. Graphic documentation provided by new technologies has enormous potential for research, teaching and dissemination. In this study, the technique is applied to three eighteenth-century altarpieces, officially recognized as Cultural Heritage Assets. A modelling was performed using photogrammetry and laser scanning. The results, interpreted and discussed by a range of professionals, provide useful information for studying the altar pieces and a basis for planning conservation, raising awareness and proposing actions aimed at groups with disabilities. The study includes a comparative analysis and considers ways of optimizing use as a tourist resource based on this type of documentation and analysis.
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Knights, Philip. ""The Whole Earth My Altar": A Sacramental Trajectory for Ecological Mission « La terre tout entière est mon autel » : trajectoire sacramentelle pour une mission écologique "Die ganze Welt ist mein Altar": Eine sakramentale Wegbeschreibung für eine ökologische Mission "La tierra entera es mi altar": Una trayectoria sacramental para una misión ecológica." Mission Studies 25, no. 1 (2008): 56–72. http://dx.doi.org/10.1163/157338308x293918.
Повний текст джерелаАнотація:
AbstractThis paper proposes a sacramental vision of the world as both an expression of and an impetus for Christian mission in the face of the current ecological crisis. This is an outworking of Panentheist turns in recent theology and spirituality, although there is much variety in forms of Panetheism and also such emphases have a long Christian history. The paper examines a particular form of sacramental Panentheism as found in two pieces of writing by Pierre Teilhard de Chardin: e Priest and e Mass on the World. In both of these Teilhard de Chardin considers the world around him through the lens of the pattern of the eucharistic liturgy and the role of the priest. The world is offered; the Holy Spirit is invoked; and divine transformation is celebrated. These almost poetic meditations stress the divine compassion for and connection with the material world. Teilhard de Chardin's "eucharistic extensions" suggest seeing the cosmos as both a signifier of the Divine and a location of divine action and energy. Christian mission in this perspective demands: that we discover the truth of where we are; that we experience our location in nature deeply, even spiritually; that we seek the advancement of the world; in particular that it may be fashioned according to its destiny in God. The frame of the Eucharist shapes our perception of the world and utilises the worldly as a vehicle of divine transformation. Our attitudes to the world must be the inspiration for our activity in the world. The sacramental vision demands missional and ecological action. Cet article propose une vision sacramentelle du monde à la fois comme une expression de la mission chrétienne face à la crise écologique actuelle, et un élan de cette même mission pour y répondre. Ceci est une retombée des tournants panenthéistes dans la théologie et la spiritualité récentes, même s'il y a beaucoup de variétés dans les formes de panenthéisme et si de tels accents ont déjà une longue histoire chrétienne. L'article examine une forme particulière de panenthéisme sacramentel rencontré dans deux écrits de Pierre Teilhard de Chardin : Le Prêtre et La messe sur le monde. Dans ces deux textes, Teilhard de Chardin regarde le monde qui l'entoure à travers la lunette du schéma de la liturgie eucharistique et du rôle du prêtre. Le monde est offert ; le Saint Esprit est invoqué ; et la transformation divine est célébrée. Ces méditations quasi poétiques soulignent la compassion divine pour le monde matériel et le lien entre les deux. Les « extensions eucharistiques » de Teilhard de Chardin poussent à considérer le Cosmos comme un signe du Divin et un lieu de l'action et de l'énergie divine. Der Artikel trägt eine sakramentale Weltsicht vor, die sowohl Ausdruck als auch Impuls für die christliche Mission angesichts der gegenwärtigen ökologischen Krise ist. Sie ist eine Anwendung panentheistischer Entwicklungen in der neueren Theologie und Spiritualität, obwohl es eine große Vielfalt an Panentheismusformen gibt und solche Akzentsetzungen eine lange christliche Geschichte haben. Der Artikel untersucht eine besondere Form des sakramentalen Panentheismus, wie er sich in zwei Schriften von Pierre Teilhard de Chardin zeigt: Der Priester und Die Messe der Welt. In diesen beiden Schriften versteht Teilhard de Chardin die Welt um ihn im Sinne einer eucharistischen Liturgie und der Rolle des Priesters. Die Welt wird geopfert; der Heilige Geist wird angerufen; und die göttliche Wandlung wird gefeiert. Diese fast poetischen Meditationen betonen das göttliche Erbarmen und die Verbindung mit der materiellen Welt. Teilhard de Chardins "eucharistische Ausweitungen" schlagen vor, den Kosmos sowohl als Zeichen als auch als Ort göttlichen Handelns und göttlicher Energie zu verstehen. Este texto propone una visión sacramental del mundo como una expresión y un impulso para la misión cristiana de cara a la actual crisis ecológica. Se trata de una elaboración de giros panenteístas en la teología y espiritualidad recientes, aunque exista una gran variedad en las formas de panenteísmo y estos énfasis tengan una larga historia cristiana. El artículo analiza una forma particular de panenteísmo sacramental como se lo encuentra en dos escritos de Pierre Teilhard de Chardin: El Sacerdote y La Misa sobre el Mundo. En ambos, Teilhard de Chardin considera el mundo a su alrededor a través del lente de la estructura de una liturgia eucarística y el papel del sacerdote. Se ofrece el mundo; se invoca al Espíritu Santo; y se celebra la transformación divina. Estas meditaciones casi poéticas enfatizan la compasión divina por y la conexión con el mundo material. Las "extensiones eucarísticas" de Teilhard de Chardin proponen mirar el universo tanto como el significante de lo Divino como la ubicación de la acción y energía divinas.
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Capurri, Valentina. "On the right to accommodation for Canadians with disabilities: space, access, and identity during the COVID-19 pandemic." Canadian Journal of Disability Studies 11, no. 1 (March 27, 2022): 26–52. http://dx.doi.org/10.15353/cjds.v11i1.850.
Повний текст джерелаАнотація:
In this article, I explore the societal reluctance to accommodate and include persons with illnesses/disabilities, which has rendered them “second-class” citizens. This reluctance exists despite several pieces of legislation whose goal is to create an inclusive and accepting social as well as physical environment across Canada. In October 2020, the Ontario government introduced a mask mandate as a non-medical procedure to limit the spread of COVID-19. I argue that this mandate has further reduced civil society’s willingness to accommodate those who are unable to wear a mask due to their disability or medical condition, especially when their illness or disability is not visibly discernible. By making use of the concept of “state of exception” developed by Giorgio Agamben, and the biopower/biopolitics paradigm introduced by Michel Foucault, I attempt to examine what the mask mandate means for persons with disabilities as well as for society at large. My investigation is an effort to uncover why we are finding ourselves in a situation of inaccessibility and exclusion at this moment in time, despite the widespread rhetoric of unity and support for each other throughout the pandemic. Through a reading of Agamben, I aim to uncover why persons with disabilities have been, once again, considered justifiable collateral damage on the altar of necessity (in this case, the necessity to fight COVID- 19 at all costs).
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Bachman, Kristjan. "The connections between Ruhnu farm furniture and carpentry tools." Studia Vernacula 8 (November 13, 2017): 122–39. http://dx.doi.org/10.12697/sv.2017.8.122-139.
Повний текст джерелаАнотація:
The island of Ruhnu is an ancient area of Swedish settlement in Estonia. As a result of the emigration of the people of Ruhnu during World War II, the traditional peasant culture has practically disappeared along with the farms and furnishings. Today, no relevant information or precise answers can be found concerning the carpenters who created the furniture that is specific to Ruhnu, including about those who made colourfully decorated furniture. Previous knowledge suggested that the furniture of Ruhnu was created by the farmers themselves mainly by following the examples of the Swedish farmers’ so-called ‘high-status’ furniture. However, detailed visual observation suggests that the fine farm furniture characteristic of the island is recognisably similar in style, and that not all the inhabitants of Ruhnu could have possessed such technical and artistic skills in carpentry. This assumption has been confirmed by Leila Pärtelpoeg, an interior designer who has studied the furniture and furnishings of Ruhnu, and who believes that the fine barn cupboards have either been made by a small group of artisans or perhaps even by a single person.
This article gives an overview of a study concerning the connections between carpentry tools and the furniture of the island in order to provide possible answers regarding the carpenters who were working in the farms in Ruhnu. In order to get these answers, the remaining furniture details were compared with the carpentry tools from Ruhnu still to be found in Estonian museums and private collections. The research material contained catalogued pieces of furniture and carpentry tools from the Estonian National Museum, as well as from the island of Ruhnu. Information gathered during fieldwork proved useful too. Initial observations revealed that similar techniques had been used for creating the barn cupboards of the farm buildings in Ruhnu, thus supporting the earlier hypothesis suggesting that the compatibility between carpentry tools and profiled wood pointed to a particular Ruhnu artisan (or to specific farms where highly skilled carpenters worked). In order to gain confirmation concerning particular artisans or farms where especially skilled carpenters worked, the catalogued pieces of furniture had to be compared to the carpentry tools of Ruhnu, all of which bore a farm or property mark. Using such property marks (by carving them on the artefacts) was the only way of distinguishing between the carpentry tools from different farms. This gave me the opportunity to place every single tool into the context of a specific farm. In order to find Breadwinner these connections, the similarities between the shape of profile planers’ cut and the laths of the pieces of furniture were compared with the property marks. Mapping the tools on basis of the farms made it possible to compare them to the remaining pieces of furniture and uncover the connections between specific farms and the carpenters’ work.
Arriving at answers to my research questions was nevertheless difficult as there were few remaining pieces of furniture and carpentry tools that could be used in comparisons. The similarities between the altar of Ruhnu’s old wooden church and the profiles of the cupboard at Korsi farm were the only ones that were really certain. Based on these results, we can suggest that local carpenters and artisans who worked on Ruhnu’s wooden church might have been the same people using the same tools, or that the church furniture only served them as an example. The possibilities of finding apparent similarities between the wooden profiles of the furniture of Ruhnu and the remaining carpentry tools was limited because there was not enough reference material, meaning the results were not as clear as had been expected.
Keywords: Ruhnu, barn cupboard, farm furniture, carpentry tools, property marks, carpenters
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Bachman, Kristjan. "The connections between Ruhnu farm furniture and carpentry tools." Studia Vernacula 8 (November 13, 2017): 122–39. http://dx.doi.org/10.12697/sv.2017.8.122-139.
Повний текст джерелаАнотація:
The island of Ruhnu is an ancient area of Swedish settlement in Estonia. As a result of the emigration of the people of Ruhnu during World War II, the traditional peasant culture has practically disappeared along with the farms and furnishings. Today, no relevant information or precise answers can be found concerning the carpenters who created the furniture that is specific to Ruhnu, including about those who made colourfully decorated furniture. Previous knowledge suggested that the furniture of Ruhnu was created by the farmers themselves mainly by following the examples of the Swedish farmers’ so-called ‘high-status’ furniture. However, detailed visual observation suggests that the fine farm furniture characteristic of the island is recognisably similar in style, and that not all the inhabitants of Ruhnu could have possessed such technical and artistic skills in carpentry. This assumption has been confirmed by Leila Pärtelpoeg, an interior designer who has studied the furniture and furnishings of Ruhnu, and who believes that the fine barn cupboards have either been made by a small group of artisans or perhaps even by a single person.
This article gives an overview of a study concerning the connections between carpentry tools and the furniture of the island in order to provide possible answers regarding the carpenters who were working in the farms in Ruhnu. In order to get these answers, the remaining furniture details were compared with the carpentry tools from Ruhnu still to be found in Estonian museums and private collections. The research material contained catalogued pieces of furniture and carpentry tools from the Estonian National Museum, as well as from the island of Ruhnu. Information gathered during fieldwork proved useful too. Initial observations revealed that similar techniques had been used for creating the barn cupboards of the farm buildings in Ruhnu, thus supporting the earlier hypothesis suggesting that the compatibility between carpentry tools and profiled wood pointed to a particular Ruhnu artisan (or to specific farms where highly skilled carpenters worked). In order to gain confirmation concerning particular artisans or farms where especially skilled carpenters worked, the catalogued pieces of furniture had to be compared to the carpentry tools of Ruhnu, all of which bore a farm or property mark. Using such property marks (by carving them on the artefacts) was the only way of distinguishing between the carpentry tools from different farms. This gave me the opportunity to place every single tool into the context of a specific farm. In order to find Breadwinner these connections, the similarities between the shape of profile planers’ cut and the laths of the pieces of furniture were compared with the property marks. Mapping the tools on basis of the farms made it possible to compare them to the remaining pieces of furniture and uncover the connections between specific farms and the carpenters’ work.
Arriving at answers to my research questions was nevertheless difficult as there were few remaining pieces of furniture and carpentry tools that could be used in comparisons. The similarities between the altar of Ruhnu’s old wooden church and the profiles of the cupboard at Korsi farm were the only ones that were really certain. Based on these results, we can suggest that local carpenters and artisans who worked on Ruhnu’s wooden church might have been the same people using the same tools, or that the church furniture only served them as an example. The possibilities of finding apparent similarities between the wooden profiles of the furniture of Ruhnu and the remaining carpentry tools was limited because there was not enough reference material, meaning the results were not as clear as had been expected.
Keywords: Ruhnu, barn cupboard, farm furniture, carpentry tools, property marks, carpenters
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Jávor, Anna. "Johann Lucas Kracker: új kutatási eredmények." Művészettörténeti Értesítő 70, no. 1 (March 17, 2022): 5–46. http://dx.doi.org/10.1556/080.2021.00001.
Повний текст джерелаАнотація:
The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.
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Gilley, Sheridan. "Victorian Feminism and Catholic Art: the Case of Mrs Jameson." Studies in Church History 28 (1992): 381–91. http://dx.doi.org/10.1017/s0424208400012572.
Повний текст джерелаАнотація:
Now Church History’, wrote John Henry Newman in 1843, ‘is made up of these three elements—miracles, monkery, Popery’, so that anyone sympathetic to the subject must sympathize with these. Much the same, however, could be said of Christian art. The young Southey on a visit to Madrid stood incredulous before a series of paintings depicting the life of St Francis. ‘I do not remember ever to have been so gready astonished’, he recalled. ‘“Do they really believe all this, Sir?” said I to my companion. “Yes, and a great deal more of the same kind”, was. the reply.’ The paradox was that works of genius served the ends of a drivelling superstition, a dilemma resolved in the 1830s by the young Augustus Pugin, who decided that the creation of decent Christian architecture presupposed the profession of Catholic Christianity. The old Protestant hostility to graven images was in part a revulsion from that idolatrous popish veneration of the Virgin and saints which had inspired frescos, statues, and altar-pieces in churches and monasteries throughout Catholic Europe; but what on earth did a modern educated Protestant make of the endless Madonnas, monks, and miracles adorning the buildings which he was expected as a man of cultivation to admire? At the very least, he required a sympathetic instruction in the meaning of the iconography before his eyes, and some guidance about its relation to the rest of what he believed. The great intermediary in this process was Ruskin; but there was at least one odier interpreter of Catholic art celebrated in her day, Mrs Anna Brownell Jameson, whose most popular works, Sacred and Legendary Art, Legends of the Monastic Orders, and Legends of the Madonna, told the Englishman what he could safely think and feel amid the alien aesthetic allurements of Catholicism.
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Kozlenko, Roman. "The Marble Bust of Mithras Tauroctone from Olbia." Archaeology, no. 3 (September 22, 2021): 95–105. http://dx.doi.org/10.15407/arheologia2021.03.095.
Повний текст джерелаАнотація:
The article introduces a marble bust of the Mithras deity, which was found in 2010 in a pit of the 2nd — 3rd centuries AD during excavations at the “R-25” sector in the Upper city of Olbia. Based on the iconography of the sculpture, side and frontal holes, with remnants of rust from the iron rods intended for fastening, it should be assumed that it could have been a part of Mithras Tauroctone sculpture, which is slaying the bull. Such sculptural image of Mithras was found for the first time in the Northern Black Sea region, and has analogies in the sanctuaries of the European and Asia Minor provinces of the Roman Empire. At this time the cult of Mithras became widespread among the Roman army, in particular in the Danube provinces, from where, as part of Roman vexillations, it came to the antique centers of the Northern Black Sea area. His veneration in Olbia is confirmed by the finds of four marble votive relief slabs pieces. On the same sector, in the Roman layer, marble statues fragments, architectural details, an altar, and the lower part of a marble relief depicting a horse’s or a bull’s leg were found, which may be the parts of this sculpture, since they are made of the same kind of marble. In the Northern Black Sea region finds of votive slabs, sculptural images of Mithras, and Latin inscriptions dedicated to this deity mark the points of deployment of the Roman troops. The published marble bust may have come from the mithraeum — a sanctuary associated with the cult of Mithras, which appears in Olbia as a result of a stay of the Roman garrison in the city in the second half of the 2nd — first half of the 3rd centuries AD. Since all finds related to the cult of Mithras in Olbia were found on the territory of the citadel, the presence of mithraeum should be assumed in the Upper city.
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Rice, Hugh Collins. "THE INTERACTION OF FORM AND MATERIAL IN SCHOENBERG'S KLAVIERSTÜCK OP. 33B." Tempo 66, no. 259 (January 2012): 24–30. http://dx.doi.org/10.1017/s0040298212000034.
Повний текст джерелаАнотація:
AbstractThe least familiar of Schoenberg's piano pieces, op.33b nevertheless can be seen to illuminate the crucial relationship between material and form. Ostensibly a simple ABABA pattern, the form has a multi-faceted character, whose second half performs a different role from the first and even suggests a different style of musical utterance. The opening material is pianistically awkward and though its formal returns suggest different possibilities, it is the strange and beautiful passage at bar 46 which does most to alter the trajectory of the later stages of the piece. Although this passage sits outside the form, it has a role in the broader narrative of the piece and many of its characteristics are taken up in the coda of the work. The developing sense of a more fluent pianism provides a counterpoise to the ABABA shape and the awkwardness of the opening becomes part of the dialogue between form and material.
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Ashby, Clifford. "Where was the Altar?" Theatre Survey 32, no. 1 (May 1991): 3–21. http://dx.doi.org/10.1017/s004055740000942x.
Повний текст джерелаАнотація:
After centuries of study, an untold number of scholars have agreed that the City Dionysia of fifth-century Athens involved an animal sacrifice to the god Dionysos, and that this event took place in the theatre before the beginning of the play competition. The usual assumption has been that this sacrifice was offered upon an altar situated at the exact center of a circular orchestra.This placement fits well with the theory that tragedy grew from a dithyrambic chorus dancing in a circle around the altar of Dionysos. But now that the dogma of the originally circular orchestra has been questioned, some attention must also be given to the location of the altar, a supposedly standard piece of theatre furniture. The following pages will (1) discuss the origin of the concept of a centrally located altar; (2) examine the literary, artistic, and architectural evidence which relate to altar placement; and (3) suggest a possible alternative to the central location.
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V., Gorbunov. "BITS AND CHEEK-PIECES OF THE EPOCH OF THE GREAT MIGRATION OF PEOPLES FROM THE SITES OF THE FOREST-STEPPE ALTAI." Preservation and study of the cultural heritage of the Altai Territory 28 (2022): 190–97. http://dx.doi.org/10.14258/2411-1503.2022.28.27.
Повний текст джерелаАнотація:
The article considers a series of bits and cheek-pieces from eight funerary sites of the Kulay and Odintsovo cultures of the 3rd -5th centuries. Information is given about the funeral rite of objects where these elements of horse equipment were found along with their graphic images. As a result of the classification of bits and cheek-pieces, they are divided into two groups and four types, supplemented by seven variants. Typological analysis made it possible to outline a circle of analogies and determine the dating of the subjects studied. The conclusion is made about the appearance of bits and cheek-pieces among the tribes of the Kulay culture under the influence of the population of Eastern Europe. The bits and cheek-pieces of the population of Odintsovo culture are more diverse. They contain both samples of the Kulai heritage and designs introduced by the nomads of Central Asia.
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Gutak, Jaroslav M., Dmitry A. Ruban, and Natalia N. Yashalova. "New Marine Geoheritage from the Russian Altai." Journal of Marine Science and Engineering 9, no. 1 (January 16, 2021): 92. http://dx.doi.org/10.3390/jmse9010092.
Повний текст джерелаАнотація:
Marine geoheritage comprises unique geological features of modern and ancient seas and oceans. The Russian Altai (southern Siberia) is a vast and geologically rich area, which was covered by a marginal sea of the Panthalassa Ocean in the Devonian. New geosites representing shallow- and deep-marine depositional environments and palaeoecosystems of submarine volcano slopes are proposed, namely, Melnichnye Sopki and Zavodskie Sopki. They are located near the town of Zmeinogorsk (Altai Region of the Russian Federation). These pieces of marine geoheritage are valuable on an international scale. Special geoconservation procedures are recommended to manage the proposed geosites efficiently. They can be included in a geopark, which is reasonable to create due to the concentration of geological and mining heritage in the study area.
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Yagovets, Natalia. "СПЕЦИФИКА ХОРОВОЙ АРАНЖИРОВКИ РУССКИХ НАРОДНЫХ ПЕСЕН РЕБРИХИНСКОГО РАЙОНА АЛТАЙСКОГО КРАЯ (РОССИЯ) ДЛЯ СЦЕНИЧЕСКИХ НАРОДНО-ПЕВЧЕСКИХ КОЛЛЕКТИВОВ". Proceedings of Altai State Academy of Culture and Arts, № 2 (2021): 68–72. http://dx.doi.org/10.32340/2414-9101-2021-2-68-72.
Повний текст джерелаАнотація:
Based on long-term experience of vocalic-choir work with academic ensembles of the Altai State Institute of Culture (Barnaul, Altai Krai, Russia) on pieces of local music folklore, the author discloses some theoretic and instructional aspect of adaptation of people's song material to people's vocal ensembles of various team compositions, and also describes specifics of choral arrangement of Russian people's songs that reflect stylistic peculiarities of ethnic song tradition of Russian areas of the South of Western Siberia (Rebrikhinsky District of Altai Krai, Russia).
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Soeiro, Teresa, and Armando Redentor. "Um altar funerário romano em Bustelo (Penafiel, Porto, Norte de Portugal)." Portugalia : Revista de Arqueologia do Departamento de Ciências e Técnicas do Património da Faculdade de Letras da Universidade do Porto 42 (2021): 85–109. http://dx.doi.org/10.21747/09714290/port42a5.
Повний текст джерелаАнотація:
This paper presents the study of an inscribed Roman funerary altar, found in 2020 in the old monastery of Bustelo (Penafiel). The circumstances of the finding were recorded as well as the possible post-Roman era route of the piece and its reuse. The study of the typological characteristics of the support is carried out and the text is analysed from the epigraphic and historical points of view, seeking to contextualize the monument in the regional epigraphy. Taking into account the current knowledge about Roman sites in the vicinity of the finding place, the potential connexion with contemporary settlements of the altar making and primary use is discussed.
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Dziuk, Stacy. "Choosing and Altering Repertoire for the Small Band." Music Educators Journal 104, no. 4 (June 2018): 32–38. http://dx.doi.org/10.1177/0027432118757020.
Повний текст джерелаАнотація:
Selecting excellent literature for a small or unbalanced band can be challenging, especially if the ensemble is ready to perform literature beyond Grade 2.5. This article describes a process for choosing high-quality repertoire for the small band, focusing on high school/college groups. Also examined is how to analyze and alter pieces to fit the needs and instrumentation of an ensemble without sacrificing technical or musical demands or the composer’s intent. By considering pieces through this lens and understanding basic reorchestration ideas, the instrumental music educator can work with a wealth of available wind band literature.
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Thorpe, Richard S., Olwen Williams-Thorpe, D. Graham Jenkins, J. S. Watson, R. A. Ixer, and R. G. Thomas. "The Geological Sources and Transport of the Bluestones of Stonehenge, Wiltshire, UK." Proceedings of the Prehistoric Society 57, no. 2 (1991): 103–57. http://dx.doi.org/10.1017/s0079497x00004527.
Повний текст джерелаАнотація:
Stonehenge on Salisbury Plain is one of the most impressive British prehistoric(c.3000–1500 BC) monuments. It is dominated by large upright sarsen stones, some of which are joined by lintels. While these stones are of relatively local derivation, some of the stone settings, termed bluestones, are composed of igneous and minor sedimentary rocks which are foreign to the solid geology of Salisbury Plain and must have been transported to their present location. Following the proposal of an origin in south-west Wales, debate has focused on hypotheses of natural transport by glacial processes, or transport by human agency. This paper reports the results of a programme of sampling and chemical analysis of Stonehenge bluestones and proposed source outcrops in Wales.Analysis by X-ray-fluorescence of fifteen monolith samples and twenty-two excavated fragments from Stonehenge indicate that the dolerites originated at three sources in a small area in the eastern Preseli Hills, and that the rhyolite monoliths derive from four sources including northern Preseli and other (unidentified) locations in Pembrokeshire, perhaps on the north Pembrokeshire coast. Rhyolite fragments derive from four outcrops (including only one of the monolith sources) over a distance of at least 10 km within Preseli. The Altar Stone and a sandstone fragment (excavated at Stonehenge) are from two sources within the Palaeozoic of south-west Wales. This variety of source suggests that the monoliths were taken from a glacially-mixed deposit, not carefully selected from anin situsource. We then consider whether prehistoric man collected the bluestones from such a deposit in south Wales or whether glacial action could have transported bluestone boulders onto Salisbury Plain. Glacial erratics deposited in south Dyfed (dolerites chemically identical to Stonehenge dolerite monoliths), near Cardiff, on Flatholm and near Bristol indicate glacial action at least as far as the Avon area. There is an apparent absence of erratics east of here, with the possible exception of the Boles Barrow boulder, which may predate the Stonehenge bluestones by as much as 1000 years, and which derived from the same Preseli source as two of the Stonehenge monoliths. However, 18th-century geological accounts describe intensive agricultural clearance of glacial boulders, including igneous rocks, on Salisbury Plain, and contemporary practice was of burial of such boulders in pits. Such erratics could have been transported as ‘free boulders’ from ‘nunataks’ on the top of an extensive, perhaps Anglian or earlier, glacier some 400,000 years ago or more, leaving no trace of fine glacial material in present river gravels. Erratics may be deposited at the margins of ice-sheets in small groups at irregular intervals and with gaps of several kilometres between individual boulders.‘Bluestone’ fragments are frequently reported on and near Salisbury Plain in archaeological literature, and include a wide range of rock types from monuments of widely differing types and dates, and pieces not directly associated with archaeological structures. Examination of prehistoric stone monuments in south Wales shows no preference for bluestones in this area. The monoliths at Stonehenge include some structurally poor rock types, now completely eroded above ground. We conclude that the builders of the bluestone structures at Stonehenge utilized a heterogeneous deposit of glacial boulders readily available on Salisbury Plain. Remaining erratics are now seen as small fragments sometimes incorporated in a variety of archaeological sites, while others were destroyed and removed in the 18th century. The bluestones were transported to Salisbury Plain from varied sources in south Wales by a glacier rather than human activity.
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Teska, Kirk. "Defense Against the Asteroids." Mechanical Engineering 134, no. 09 (September 1, 2012): 49. http://dx.doi.org/10.1115/1.2012-sep-5.
Повний текст джерелаАнотація:
This article lists various schemes that have been patented to deal with near-Earth asteroids. NASA surveys the solar system for near-Earth asteroids; schemes to deal with them include a spacecraft to sample their minerals, and a photon momentum plane and a laser tractor beam to deflect them. According to a patent by Gregory A. Piccionelli of Westlake Village, California, nuclear devices are detonated on the moon and propulsion devices are then attached to the resultant moon pieces. These moon pieces are then driven into the incoming meteor to alter its orbit. Another example of a scheme is a NASA patent, which has three or four spacecrafts place a Kevlar loop around an asteroid. The spacecraft then docks on the asteroid and deploys a rigidized photon momentum transfer plane. Photons from the sun strike this reflective surface and alter the position of the asteroid. A start-up by the name of Planetary Resources is also developing technology to mine asteroids.
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N., Konstantinov. "Findings on Kupchegen-1 Settlement (Central Altai)." Teoriya i praktika arkheologicheskikh issledovaniy 33, no. 1 (2021): 19–33. http://dx.doi.org/10.14258/tpai(2021)33(1).-02.
Повний текст джерелаАнотація:
Abstract: The paper presents the results of the chronological attribution of a complex of objects obtained during exploration work at the Kupchegen-1 settlement, located on the outskirts of the village of the same name in the Ongudai district of the Altai Republic. The settlement is located on a small site in a closed hollow, in the place of a seasonal watercourse. Due to this location, the cultural layer of the site is destroyed by a large gully, in which the locals collected lifting material in the form of fragments of ceramic vessels, iron products, animal bones and pieces of slag. In 2020, the ravine was cleaned up and additional material was obtained, allowing the dating of the main layer of the settlement. Based on the consideration of analogies of individual finds, in particular, an iron armor plate, a ceramic complex and a blank quiver loop, the materials of the settlement were tentatively dated to the 9th-13th centuries AD. It is possible that the materials received also contain a few items related to other periods. The studied complex can become a reference for the study of the settlements of the Turkic and pre-Mongol times of Altai. Keywords: settlement; Middle Ages; Turkic time; pre-Mongol time; ceramics; quiver; armor plate Acknowledgements: The research was carried out with the financial support of the Russian Science Foundation (project No. 20–78–00035).
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Hauer, F. Richard, Geoffrey C. Poole, John T. Gangemi, and Colden V. Baxter. "Large woody debris in bull trout (Salvelinus confluentus) spawning streams of logged and wilderness watersheds in northwest Montana." Canadian Journal of Fisheries and Aquatic Sciences 56, no. 6 (June 1, 1999): 915–24. http://dx.doi.org/10.1139/f99-014.
Повний текст джерелаАнотація:
We measured large woody debris (LWD) in 20 known bull trout (Salvelinus confluentus) spawning stream reaches from logged and wilderness watersheds in northwestern Montana. Mean bankfull width of stream reaches was 14.1 m ranging from 3.9 to 36.7 m. Streams were large enough to move LWD and form aggregates. We determined the characteristics of individual pieces of LWD that were interactive with the stream channel. Large, short pieces of LWD attached to the stream bank were the most likely to be positioned perpendicular to stream flow, while large, long pieces either tended to be parallel to the flow or, when attached, were most apt to extend across the channel thalweg. Observations indicated that the majority of pools were formed as scour pools by either very large LWD pieces that were perpendicular to the stream or multipiece LWD aggregates. Among reaches in wilderness watersheds, ratios of large to small LWD, attached to unattached LWD, and with and without rootwads were relatively consistent. However, among reaches with logging in the watershed, these ratios varied substantially. These results suggest that logging can alter the complex balance of delivery, storage, and transport of LWD in northern Rocky Mountain streams, and therefore, the likely substantive change in stream habitats.
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Zubair, Humza N., Erik E. Stout, Natalia Dounskaia, and Irina N. Beloozerova. "The role of intersegmental dynamics in coordination of the forelimb joints during unperturbed and perturbed skilled locomotion." Journal of Neurophysiology 120, no. 4 (October 1, 2018): 1547–57. http://dx.doi.org/10.1152/jn.00324.2018.
Повний текст джерелаАнотація:
Joint coordination during locomotion and how this coordination changes in response to perturbations remains poorly understood. We investigated coordination among forelimb joints during the swing phase of skilled locomotion in the cat. While cats walked on a horizontal ladder, one of the cross-pieces moved before the cat reached it, requiring the cat to alter step size. Direction and timing of the cross-piece displacement were manipulated. We found that the paw was transported in space through body translation and shoulder and elbow rotations, whereas the wrist provided paw orientation required to step on cross-pieces. Kinetic analysis revealed a consistent joint control pattern in all conditions. Although passive interaction and gravitational torques were the main sources of shoulder and elbow motions for most of the movement time, shoulder muscle torque influenced movement of the entire limb at the end of the swing phase, accelerating the shoulder and causing interaction torque that determined elbow motion. At the wrist, muscle and passive torques predominantly compensated for each other. In all perturbed conditions, although all joints and the body slightly contributed to changes in the step length throughout the entire movement, the major adjustment was produced by the shoulder at the movement end. We conclude that joint coordination during the swing phase is produced mainly passively, by exploiting gravity and the limb’s intersegmental dynamics, which may simplify the neural control of locomotion. The use of shoulder musculature at the movement end enables flexible responses to environmental disturbances. NEW & NOTEWORTHY This is the first study to investigate joint control during the swing phase of skilled, accuracy-dependent locomotion in the cat and how this control is altered to adapt to known and unexpected perturbations. We demonstrate that a pattern of joint control that exploits gravitational and interaction torques is used in all conditions and that movement modifications are produced mainly by shoulder muscle torque during the last portion of the movement.
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Faura, F. "Modelización técnico-económica de un sistema de moldeo de aluminio a alta presión para fabricación de piezas de automoción." Revista de Metalurgia 33, no. 3 (June 30, 1997): 172–81. http://dx.doi.org/10.3989/revmetalm.1997.v33.i3.860.
Повний текст джерела
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Nguyen Thi Hong, Lien, and Hong Le Thi Thu. "“ALTER” VERSUS “MODIFY” FROM A CORPUS-BASED PERSPECTIVE." Journal of Science Social Science 63, no. 7 (July 2018): 65–72. http://dx.doi.org/10.18173/2354-1067.2018-0051.
Повний текст джерелаАнотація:
Teaching and learning how to utilize academic lexical items have always been a challenge in EFL setting. With the desire of making some contribution to the understanding of academic synonyms, this piece of research aims to investigate the meanings of the two verbs “alter” and “modify” through their collocations with nouns and the similarities and differences in their collocation patterns. The issue is approached from a corpus-based perspective and the method of lexical collocation. The findings of the study include: (1) the two verbs embrace the same denotation of “to change proportionally” in certain contexts; (2) “alter” possesses a broader sense when referring to an action of profound and fundamental change.
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N., KONSTANTINOV, PLETS G., URBUSHEV A., and TAKPAEVA V. "KOZHOLYU-1 SETTLEMENT IN CENTRAL ALTAI." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 219–23. http://dx.doi.org/10.14258/2411-1503.2021.27.34.
Повний текст джерелаАнотація:
The paper presents the results of archaeological survey at the Kozholyu-1 settlement, on the eastern outskirts of the Kupchegen village in Onguday Distric of Altai Republic. The settlement is located on the site of a gentle slope in the Bolshoi Kozholyu tract. In several places, the settlement is eroded by seasonal water flows. Material was collected at the destroying parts of settlement, and two sections of the largest erosion in the northeastern part of the site were cleaned up. In the course of the work, a relatively small amount of material was obtained, represented by a little more than 50 fragments of ceramic vessels, a piece of iron slag, a grain grater, a fragment of a bone arrowhead and fragments of animal bones. The ornamentation of pottery is represented by large and small finger clamps, indentations of the corner, a tube, a small rectangular stamp and an elongated flat stamp. Analogies to ceramics are found in the layers of settlements attributed by researchers to the Middle Ages. Keywords: altai, settlement, early Middle Ages, fragments of ceramics, survey
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Zharkova, S. V., and E. V. Shishkina. "Results of the research of onion in the annual culture in the conditions of the Priobskaya zone of the Altai Territory." Vegetable crops of Russia, no. 3 (June 28, 2021): 40–43. http://dx.doi.org/10.18619/2072-9146-2021-3-40-43.
Повний текст джерелаАнотація:
Relevance. In the Western Siberia conditions bulb onion is grown mainly from onion sets. With this method of cultivation, large costs are spent on growing and storing the onion sets. In this regard, the cultivation of it through the seeds is of particular importance. This problem has not been studied enough in Priobskaya zone of Altai Territory conditions.Materials and methods. In our research, we studied the influence of cultivation conditions on the formation of economically valuable traits of varieties and a hybrid of bulb onion grown by sowing seeds in the ground in Priobskaya zone of Altai Territory. Three varieties were taken as objects of research: Odnoletniy Sibirskiy, Zolotnichok, Odintsovets, and one Candy F1 hybrid.Results. On average, over the years of research on early maturity, the standard Odnoletniy Sibirskiy variety (87-88 days) showed itself to be the most early maturing. Candy F1 hybrid can be used as a source of early green mass. Leaf regrowth was the earliest of all onion samples studied. The largest leaf apparatus in the conditions of Priobskaya zone of Altai Territory is formed by the varieties Odintsovets (4.1 pieces per plant) and Odnoletniy Sibirskiy (3.8 pieces per plant). The maximum bulb mass was formed by the Candy F1 hybrid (51.5 g). The Candy F1 hybrid also was distinguished by the highest yield in the group of the studied samples. The increase in total yield was 5.1 t/ha, marketable 2.4 t/ha in relation to the standard. The maximum marketability in the experience was in the standard (80.9%).
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Fisković, Igor. "Lopudski oltari Miha Pracata." Ars Adriatica, no. 2 (January 1, 2012): 177. http://dx.doi.org/10.15291/ars.448.
Повний текст джерелаАнотація:
Three cinquecento polychrome wood-carved altars have been preserved on the island of Lopud near Dubrovnik, the most monumental of which is situated in the parish church of Our Lady of Šunj. Its retable was constructed to resemble a classical aedicule, with an intricately carved frame and a central figural depiction of the Assumption of the Virgin, complemented by a complex iconographic programme in the symmetrically arranged adjoining scenes. Filling the small cassettes of the predella are reliefs of the Annunciation and Christ as the Man of Sorrows, together with perspectively rendered narrative scenes of the Last Supper and the Washing of the Feet, while in the pediment is a frontal depiction of the Coronation of the Virgin by the Holy Trinity. In the narrow side wings between the columns and pilasters are four bas-reliefs of local patron saints depicted half-turned towards the central image, and thus achieving an overall plastic harmony for a demanding content. In terms of space, the main scene is well-developed through a pronounced sculptural modelling of the figures of the eleven apostles in the round, the most prominent of which is that of St Peter, placed in the foreground and turned to face the nave of the church, while the others are consumed by the miraculous assumption of the Virgin into heaven. She is followed high up by a pair of small angels and several tiny symbolical cherubim heads, all of which helps to achieve an extremely convincing religious scene. Its attractiveness is significantly heightened by the all’antica realism and pedantic Roman-inspired modelling which highlight the skill of a highly trained and talented master wood carver, which leaves no doubt that this is a special work of art, and indeed, the most beautiful carved wood retable in the east Adriatic which has survived to date. In this first complete study of the altar, the author traces historical records in which it is mentioned without the exact year of its creation, origin or carver being cited. He dispels the tradition that the altar was brought from England, supposedly from the Chapel of Henry VIII, and explains this tradition as having been based on the discovery of an alabaster altar, a typical product of late Gothic workshops at Nottingham, several examples of which exist in Dalmatia. From the seventeenth-century records, on the other hand, we learn that the altar in the church of the „Madonna del Sugni” (a vernacular Italo-Croatian transformation of the word Assunta) was dedicated in 1572. An examination of comparative material establishes that the altar’s compositional scheme draws upon altarpieces painted by Alvise Vivarini around 1480, while its morphological features find their closest parallel in the activities and mannerisms of the Venetian workshop of Paolo Campsa, who worked from the 1490s to the early 1550s, and who sold his works in the wide area under the government of La Serenissima. The Republic of Venice profited a great deal from this export, while its urban centre’s innumerable wooden altars disappeared following subsequent changes of fashion. A group of securely attributed works shows that Paolo Campsa frequently borrowed formulas and idioms from Venetian painters of the older generation; analogies with two of Vivarini’s altar paintings confirm that he repeated this technique on the Lopud altar, even though altars as complex as this are not found in the surviving oeuvre of this artist. An overview of the extremely numerous works attributed to this fecund wood carver has not led to a secure attribution of this scenically developed altar to his hand. However, an analytical observation points to significant similarities with individual figures considered by scholars of Renaissance wooden sculpture to be products of his workshop - more a factory, in fact - or of his circle which, without a doubt, Paolo stamped with his mark. Apart from the assumption that there are master wood carvers who have not been identified, or formally and clearly differentiated, who followed his teachings and mannerisms, this paper opens the possibility of locating more exactly the place of the altar’s creation. Since Campsa’s workshop was active even after his death, it can be assumed that the altar was made in the 1560s or 1570s, and that it was transported and assembled on the island of Lopud for its dedication of 1572. Furthermore, the author observes the meaning of the subsequent addition of the background, which was painted once the altar reached its destination; it shows a summarized depiction of the scenery of Lopud and a tiny settlement with a precisely and proportionately drawn sailing ship docked at the island’s bay. The background reveals that the nature of the work was votive and, by identifying the layers of local historical circumstance and by combining them with the relevant written sources, it can be connected to the activities of the distinguished ship owner Miho Pracat, the richest citizen of the Republic of Dubrovnik during the cinquecento. Two more wooden sculptures can be added to Miho Pracat’s donation to his home island: the figures of St Catherine and St Roch which were also made in Venice and which had originally belonged to a small altar of his family in the local church of St Francis, known from archival records. This altar was composed of an older polychrome triptych, now unfortunately lost, and which, together with a pair of side statues, formed a piece resembling a number of altarpieces from Paolo Campsa’s workshop. Thus, the analysis of these works of art reveals key components of visual culture, and a peculiar mosaic of sixteenth-century artistic production in a peripheral community of the small island of Lopud under the government of the Republic of Dubrovnik.
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López López, Ligia (Licho), Christopher T. McCaw, Rhonda Di Biase, Amy McKernan, Sophie Rudolph, Aristidis Galatis, Nicky Dulfer, et al. "The quarantine archives: educators in “social isolation”." History of Education Review 49, no. 2 (September 19, 2020): 195–213. http://dx.doi.org/10.1108/her-05-2020-0028.
Повний текст джерелаАнотація:
PurposeThe archives gathered in this collection engage in the current COVID-19 moment. They do so in order to attempt to understand it, to think and feel with others and to create a collectivity that, beyond the slogan “we are in this together”, seriously contemplates the implications of what it means to be given an opportunity to alter the course of history, to begin to learn to live and educate otherwise.Design/methodology/approachThis paper is collectively written by twelve academics in March 2020, a few weeks into the first closing down of common spaces in 2020, Victoria, Australia. Writing through and against “social isolation”, the twelve quarantine archives in this paper are all at once questions, methods, data, analysis, implications and limitations of these pandemic times and their afterlives.FindingsThese quarantine archives reveal a profound sense of dislocation, relatability and concern. Several of the findings in this piece succeed at failing to explain in generalising terms these un-new upending times and, in the process, raise more questions and propose un-named methodologies.Originality/valueIf there is anything this paper could claim as original, it would be its present ability to respond to the current times as a historical moment of intensity. At times when “isolation”, “self” and “contained” are the common terms of reference, the “collective”, “connected” and “socially engaged” nature of this paper defies those very terms. Finally, the socially transformative desire archived in each of the pieces is a form of future history-making that resists the straight order with which history is often written and made.
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Herráez Ortega, María Victoria. "Orfebrería del renacimiento en León. Piezas foráneas." Estudios humanísticos. Geografía, historia y arte, no. 20 (February 10, 2021): 179. http://dx.doi.org/10.18002/ehgha.v0i20.6781.
Повний текст джерелаАнотація:
<span>The sixteenth century was a brillant period for silverwork in León. Since 1525, aproximatelly, the workshops had already introduced the renacentist forms and their production met the requeriments of the hole diocesan territory. However, the quality of leonese works didn 't alter the fact that pieces proceeding from another places arrived to some churches and monasteries, usually as a donation of nobles or abbots. Most of them have Castilian origin, but there are also interesting examples from Toledo and Sevilla and a group of metal Flemish bells.</span>
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Ingólfsson, Árni. "Enn einn „útlenskur tónn'' í Rask 98." Gripla 32 (2021): 289–300. http://dx.doi.org/10.33112/gripla.32.11.
Повний текст джерелаАнотація:
The manuscript Rask 98, also known as Melódía (in the Arnamagnæan Collection, Copenhagen), was written ca. 1660–70 by an unknown scribe and contains 223 notated songs. The manuscriptʼs heading states that it contains “foreign tunes to Icelandic poetry.” Since none of the songs in Rask 98 carries an attribution, tracing their origins has proved to be an arduous task. In an article published in this journal in 2012, the present author identified models for five “foreign tunes” in Rask 98, extending our knowledge of musical repertoire and transmission in sixteenth- and seventeenth-century Iceland. One further piece can now be added to the collection: Jacobus Clemens (non Papa)ʼs four-part song Godt es mijn licht, first published in Leuven in 1567 but in Nuremberg a year later to a text in German, Gott ist mein liecht. Only the latter version repeats the songsʼs last two phrases, a repeat that is also found in Rask 98. Thus the Nuremberg print can be identified as the source for the version in Rask 98. The Icelandic text, Englar og menn og allar skepnur líka senn, is not a translation, but seems to be a free paraphrase of Psalm 148. Rask 98 (and JS 138 8vo, a later manuscript that seems to be a direct copy) contains only Clemensʼs tenor part in a non-rhythmic notation. Like the other polyphonic pieces that were brought to Iceland in the second half of the sixteenth century, Englar og menn was presumably sung in four parts while vocal resources allowed, and its lower parts were still transmitted on their own a century later.
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Seaford, Richard. "The eleventh ode of Bacchylides: Hera, Artemis, and the absence of Dionysos." Journal of Hellenic Studies 108 (November 1988): 118–36. http://dx.doi.org/10.2307/632635.
Повний текст джерелаАнотація:
The eleventh ode of Bacchylides begins and ends at Metapontum. But most of it is devoted to two myths about Tiryns. The first of these is the insult to Hera by the daughters of King Proitos and their consequent madness: they leave Tiryns to roam in the wild, until with the permission of Hera they are cured by Artemis, to whom they then build, with their father, an altar. The second is the earlier quarrel at Argos between the brothers Proitos and Akrisios which led to the foundation by Proitos of Tiryns. The latter myth is framed by the former, and the correspondences between the two are carefully implied: the story of the Proitids begins and ends with the foundation of the altar and cult of Artemis at Lousoi in the Arcadian mountains (41, 110), while the inner story begins and ends with the foundation of Tiryns (60-1, 80-1). Just as the girls’ departure from Tiryns led to the establishment of the altar, so the men left Argos and founded Tiryns. Both the joins between the stories are cemented by the idea of departure from a town (55-61, 80-4). Both stories move from a strange piece of folly to consequent suffering, prayers, divine ‘stopping’ of the suffering (76, 108), and finally the building of walls or altar. Similarly Alexidamos, deprived of an earlier Olympic victory by the ‘wandering wits’ of the judges, is now having his Pythian victory celebrated at Metapontum.
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Troșan, Laura. "Restaurarea unui antimis datat 1822." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 343–50. http://dx.doi.org/10.47802/amet.2020.34.20.
Повний текст джерелаАнотація:
"Restoration of an antimension dated 1822 The antimension is a consecrated liturgical textile object, it is kept on an altar, and without it the Divine Liturgy cannot be celebrated. The antimension is made of a rectangular linen or silk cloth, decorated with the representation of the Entombment of Christ and of the four Evangelists, in various printing techniques. The restoration operations carried out include mechanical dry cleaning, removal of wax deposits, rehydration and regaining the original shape of the piece. Keywords: Antimension, restoration, cult objects, Romanian in the Cyrillic alphabet, Slavonic "
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Araujo, Abelardo Q. C. "Neurological Aspects of HIV-1/HTLV-1 and HIV-1/HTLV-2 Coinfection." Pathogens 9, no. 4 (March 28, 2020): 250. http://dx.doi.org/10.3390/pathogens9040250.
Повний текст джерелаАнотація:
Simultaneous infection by human immunodeficiency viruses (HIV) and human T-lymphotropic viruses (HTLV) are not uncommon since they have similar means of transmission and are simultaneously endemic in many populations. Besides causing severe immune dysfunction, these viruses are neuropathogenic and can cause neurological diseases through direct and indirect mechanisms. Many pieces of evidence at present show that coinfection may alter the natural history of general and, more specifically, neurological disorders through different mechanisms. In this review, we summarize the current evidence on the influence of coinfection on the progression and outcome of neurological complications of HTLV-1/2 and HIV-1.
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Колпаков, Н. А., and К. Ю. Гусева. "The density of planting mini-tubers on the yield of the first field generation of original seed potatoes." Kartofel` i ovoshi, no. 6 (June 7, 2021): 37–40. http://dx.doi.org/10.25630/pav.2021.17.45.007.
Повний текст джерелаАнотація:
Цель исследований – изучение влияния густоты посадки мини-клубней на урожайность первого полевого поколения различных сортов картофеля. Исследования проведены в 2018–2019 годах в питомнике первого полевого поколения в условиях защищенного грунта ФГБОУ ВО «Алтайский государственный университет» (АлтГУ). Объект исследований – сорта картофеля Любава, Кемеровчанин, Тулеевский. Мини-клубни этих сортов были выращены на гидропонной установке лаборатории биотехнологии растений АлтГУ для дальнейшей посадки в теплицы. В 2018 году мини-клубни высаживались в контейнеры объемом 50 л, плотность посадки – 6,8 шт/м2. В 2019 году мини-клубни были высажены в гряды теплицы, плотность посадки – 5,0 шт/м2. Грунт теплицы состоял из смеси торфов, агроперлита, основных элементов питания (N, P, K). При контейнерном способе посадки (6,8 шт. мини-клубней на 1 м2) изучаемые сорта сформировали практически одинаковое количество клубней на куст: Любава – 7,85 шт., Кемеровчанин – 6,83 шт., Тулеевский – 7,05 шт. Сорт Любава (9,35 шт/куст) характеризовался максимальным числом клубней с одного растения при выращивании на грядах (густота посадки 5,0 шт/м2). Максимальный показатель средней массы клубней с 1 растения при густоте посадки 6,8 шт/м2 был у сорта Любава (687,74 г), минимальный – у сорта Тулеевский (593,86 г); показатель продуктивности растений сорта Кемеровчанин был равен 642,48 г. При выращивании мини-клубней на грядах наибольшая средняя масса клубней с одного растения получена у сортов Кемеровчанин (1178,13 г) и Любава (1008,25 г). Наибольшая урожайность первого полевого поколения при густоте посадки 6,8 шт/м2получена у сорта Любава (4,68 кг/м2), при густоте посадки 5,0 шт/м2 – у сорта Кемеровчанин (5,98 кг/м2). Количество семенной фракции исследуемых сортов на 1 м2в 2018 году составило 82,75–87,00%, в 2019 году – 41,75–53,25%. The aim of the research is to study the influence of the planting density of mini-tubers on the yield of the first field generation of various potato varieties. The research was carried out in 2018–2019 in the nursery of the first field generation in the conditions of protected soil of the FSBEI HO Altai State Agrarian University (ASAU). The objects of research were potato varieties Lyubava, Kemerovochanin, Tuleevsky. Mini-tubers of these varieties were grown on a hydroponic installation of the plant biotechnology laboratory of the ASAU for further planting in greenhouses. In 2018, mini-tubers were planted in containers with a volume of 50 liters, stocking density 6,8 pieces per 1 m2. In 2019, mini-tubers were planted in greenhouse ridges, planting density 5,0 pieces per 1 m2. The greenhouse soil consisted of a mixture of peat, agroperlite and basic nutrients (N, P, K). With the container planting method (6,8 pieces of mini-tubers per 1 m2), the studied varieties formed almost the same number of tubers per bush: Lyubava – 7,85 pieces, Kemerovochanin – 6,83 pieces, Tuleyevsky – 7,05 pieces. Variety Lyubava (9,35 pieces/bush) was characterized by the maximum number of tubers from 1 plant when grown on ridges (planting density 5,0 pieces per 1 m2). The maximum indicator of the average mass of tubers from 1 plant at a planting density of 6,8 pieces per 1 m2 was formed in the variety Lyubava (687,74 g), the minimum in the variety Tuleevsky (593,86 g); the productivity index of plants of the Kemerovochanin variety was 642,48 g. When growing mini-tubers on the ridges, the largest average mass of tubers per plant was obtained in the varieties Kemerovochanin (1178,13 g), Lyubava (1008,25 g). The highest yield of the first field generation with a planting density of 6,8 pieces/m2 was obtained for the variety Lyubava (4,68 kg/m2), with a planting density of 5,0 pieces/m2 – for the variety Kemerovchanin (5,98 kg/m2). The amount of seed fraction of the studied varieties per 1 m2in 2018 was 82,75–87,00%, in 2019–41,75–53,25%.
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Francisco, Bosch-Morell, Mérida Salvador, and Navea Amparo. "Oxidative Stress in Myopia." Oxidative Medicine and Cellular Longevity 2015 (2015): 1–12. http://dx.doi.org/10.1155/2015/750637.
Повний текст джерелаАнотація:
Myopia affected approximately 1.6 billion people worldwide in 2000, and it is expected to increase to 2.5 billion by 2020. Although optical problems can be corrected by optics or surgical procedures, normal myopia and high myopia are still an unsolved medical problem. They frequently predispose people who have them to suffer from other eye pathologies: retinal detachment, glaucoma, macular hemorrhage, cataracts, and so on being one of the main causes of visual deterioration and blindness. Genetic and environmental factors have been associated with myopia. Nevertheless, lack of knowledge in the underlying physiopathological molecular mechanisms has not permitted an adequate diagnosis, prevention, or treatment to be found. Nowadays several pieces of evidence indicate that oxidative stress may help explain the altered regulatory pathways in myopia and the appearance of associated eye diseases. On the one hand, oxidative damage associated with hypoxia myopic can alter the neuromodulation that nitric oxide and dopamine have in eye growth. On the other hand, radical superoxide or peroxynitrite production damage retina, vitreous, lens, and so on contributing to the appearance of retinopathies, retinal detachment, cataracts and so on. The objective of this review is to suggest that oxidative stress is one of the key pieces that can help solve this complex eye problem.
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Klepikov, Valeriy, and Mikhail Krivosheev. "Details of the Horse Bridle from the Burial of the Sarmatian Horseman from Kovalevka Kurgan Cemetery." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (October 2020): 181–99. http://dx.doi.org/10.15688/jvolsu4.2020.4.12.
Повний текст джерелаАнотація:
Introduction. The article publishes and analyzes the materials founded by the kurgan research near the village of Kovalevka in the southern part of the Volga-Don interfluve. Kurgan No. 13 is part of a kurgan cemetery, where the burials look relatively simultaneous and can be interpreted as a cemetery of nomadic migrants, settled in this territory in the confrontation with other Sarmatian groups. Methods. The authors pay special attention to the details of the horse bridle, to the type of the bits and cheek-pieces, and to the plaques, which decorated the straps of the headband. The traditional method of analogies is used for the analysis and interpretation of the material. Analysis. The type of rod cheek-pieces with two rectangular loops for fixing the rein in the central part and disc-shaped tips at the ends became widespread in the Sarmatian environment at the turn of the era. The cheekpieces and plaques were decorated with gold foil applications. Such burials are known in the Lower and Middle Volga region, Lower, Middle and Upper Don region, Kuban and in the Crimea. The authors find the origins of the tradition of making and using bits and cheek-pieces of this type in the East, in the regions of Transbaikal, Tuva, Altai and Northern China. The analysis of the bridle allows making the conclusion that it belonged to professional warriors-riders of upscale status. Results. The appearance of such burials coincides with the process of changing Sarmatian cultures at the turn of the eras, and probably the horsemen were active participants in these historical changes. However, it is impossible to define them as an ethnic group, or even to combine them within one archaeological culture. Therefore, the authors propose to see such riders as representatives of an intertribal aristocratic military group.
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Bhosale, Yogesh J., Mayuresh B. Kedari, Tejas V. Tarawade, and Abhishek S. Late. "Rumor Detection." International Journal of Recent Technology and Engineering (IJRTE) 10, no. 2 (July 30, 2021): 14–16. http://dx.doi.org/10.35940/ijrte.b6073.0710221.
Повний текст джерелаАнотація:
Everyone has internet access and is connected to social media in today's fast-paced world. Numerous pieces of data are disseminated on these websites, but there is no reliable source for confirmation or verification. This is where rumors come into play. Rumors are deliberate fabrications intended to sway or drastically alter popular opinion, and their impact can be seen in politics, especially during elections, and on social media. Thus, to resolve this problem, a rumor detector is needed that is capable of accurately indicating whether information is false or real. We implemented algorithms such as Multinomial Naive Bayes, Gradient Boosting, and Random Forest on complex datasets to get this Rumor Detection System closer to more reliable rumor performance. Accuracy of Multinomial Naive Bayes is approximately 90.4Forestitwas86.588.3
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Sukhdeo, M. V. K., and M. S. Kerr. "Behavioural adaptation of the tapewormHymenolepis diminutato its environment." Parasitology 104, no. 2 (April 1992): 331–36. http://dx.doi.org/10.1017/s0031182000061783.
Повний текст джерелаАнотація:
SUMMARYHymenolepis diminutamigrates up the small intestine in response to feeding the host 1 g of glucose. Locomotion during migration may result from fixed patterns of retrograde peristaltic-like waves in the strobila of the tapeworm which propel the organism against the normal expulsive forces in the small intestine. The peristaltic-like locomotory waves occur in a gradient along the strobila with a frequency of 24·9±0·9 cycles/min in the anterior segments of the worm, decreasing linearly to 6·6±1·4 cycles/min in the posterior segments of the worm. Chemical signals, isolated from the small intestine of fed hosts, which stimulate migration behaviourin vivodo not alter the behaviour of the scolex or strobilain vitro. Removal of the scolex containing the cerebral ganglia does not alter the frequency or pattern of locomotory activity in the strobila. After the worm is cut into pieces, each region generates the pattern of locomotory activity that is appropriate for that region. These data suggest that the peripheral nervous system, and not the central nervous system, is responsible for the coordination of the fixed patterns of locomotory activity in these tapeworms.
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Zharkova, S. V., and O. V. Manylova. "Formation of plants density and seed yield of soybean varieties in Altai Krai." Vegetable crops of Russia, no. 6 (November 28, 2021): 92–97. http://dx.doi.org/10.18619/2072-9146-2021-6-92-97.
Повний текст джерелаАнотація:
Relevance. Soybean (Glycine max (L.) Merrill is one of the most important protein- oilseed crops in world arable farming. An acute shortage of both food and feed protein is felt in many world’s countries. In this regard, the expansion of soybean seed production is relevant and is dictated by the need for import substitution of both food and feed soybean products.Materials and methods. In the research we studied the influence of two ecologically different cultivation zones: Priobskaya and Prialtaiskaya on the formation of plants density and seed yield of soybean. Three varieties Altom, Gratsia and Pripyat were taken as the objects of the research.Results. On average, over the years of research in full seedlings stage from 60 germinating seeds per square meter (600 thousand pieces/ha), in our experiment, about 56 plants were obtained per 1 m2 or 560 thousand plants per 1 hectare. This means that, on average, 93% of sown seeds give seedlings in field conditions. For harvesting after exposure of soybean crops to numerous biotic and abiotic factors, on average, there are about 52 plants per 1 m² or 520 thousand plants per 1 hectare, that is, 88% of the sown germinating seeds are saved for harvesting and give a yield. The maximum influence on the variability of plant density is exerted by vegetation conditions (years) – 37%. On average, over the years of the study, the maximum yield under Topchikha conditions was obtained in 2019 – 1.9 t/ha – in a year that was distinguished by not hot weather with sufficient rainfall during the growing season. Varieties Gratsia and Pripyat in Smolenskoye conditions significantly exceeded the standard in terms of yield in 2018 and 2020. On average, over the years of research, the Gratsia variety showed itself as more stable with Cv=11.3% in Topchikha conditions and Cv=9.8% in Smolenskoye conditions.
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Mazumder, Tanmoy. "Exploring the Eurocentric Heart: A Postcolonial Reading of Graham Greene’s The Heart of the Matter." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 113–21. http://dx.doi.org/10.32996/ijllt.2021.4.8.17.
Повний текст джерелаАнотація:
A literary text can be a propagator of values- both explicitly and implicitly. As Edward Said claims in his book, Orientalism (1978), for centuries Eurocentrism pervades Western literary pieces; they somehow justify and/or uplift European values and perspectives as superior ones while portraying lands, people and cultures of the colonized nations elsewhere, especially in the East. Sometimes, it may become more oblique as the apparent issues dominating the text seem to be something very different, but the writing, however, in the undercurrent, portrays things in a Eurocentric way, often by “othering” the non-Europeans. Said famously terms, this process of creation of an alter ego of the West in the East as “Orientalism”. Graham Greene’s novel, The Heart of the Matter (1948), set in West Africa’s Sierra Leone, a then British colony during WWII, summons rethinking of its presentation of the non-White people and the land of Africa. This study would like to take the focus away from the dominating themes of religion, sin, pity, mercy, responsibility, love, etc. in this piece of fiction to assess its underlying colonial issues which often go unnoticed. The novel portrays a variety of characters- both the British colonizers and the colonial subjects- though the roles and space occupied by the non-British characters are mostly marginal. The “Whites” are portrayed sympathetically, whereas the “non-Whites” are presented as evil, naïve, weak and mystic. This study, thus, argues that the portrayal of Africa (Sierra Leone), the Africans, and the major “non-White” characters in the novel, in contrast to the empathetic presentation of the major “White” European characters, indicate an obvious “othering” of “non-Whites” and the marginalization of non-Europeans in the narrative of the novel. The paper further opines that this process of “othering” and marginalization underlines the operation of an underlying Eurocentric attitude in the representation of the Europeans and non-Europeans in Greene’s fiction.
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Mayasari, Nova, Heriyanti Amalia Kusuma, and Endang Wahyuningtyas. "Two-piece hollow bulb obturator after partial maxillectomy on ameloblastoma case." Majalah Kedokteran Gigi Indonesia 6, no. 3 (July 30, 2021): 154. http://dx.doi.org/10.22146/majkedgiind.50663.
Повний текст джерелаАнотація:
Ameloblastoma often occurs in the mandibular area, but 15 - 20% of ameloblastoma originates from the maxilla. Ameloblastoma lesions in the maxilla can be treated with partial maxillectomy, which produces defects that alter speech, swallowing function, and aesthetic. The role of prosthodontics is needed to rehabilitate the patient’s condition by fabricating an obturator that helps reduce the morbidity of patients. The main problem with the rehabilitation of substantial defects in the maxilla is the weight of the prosthesis, resulting in non-retentive prosthesis. The purpose of this case report was to evaluate the post-treatment of the partial maxillectomy in the case of ameloblastoma with the hollow bulb to rehabilitate the functions of mastication, phonetics, swallowing function, and aesthetic functions.This case report discussed the treatment of a 58-year-old female who undergone partial maxillectomy, has experienced tooth loss in 15, 14, 13, 12, 11, 21, 22, and 23, and had an anterior palate defect due to mass retrieval under the Aramany class VI classification. The chosen treatment was the fabrication of an obturator with the twopiece hollow bulbmade of acrylic resin. The results of the obturator insertion are good retention, stabilization,occlusion, aesthetics, clear phonetic, and the increasing patient’s confidence. The follow-up control after one week showed good retention, stabilization, occlusion, aesthetics, even clearer pronunciation and a good adaptation from the patient. This case report concludes that the two-piece hollow bulb acrylic resin obturator in ameloblastoma case can rehabilitate the maxillary defect post partial maxillectomy to restore masticatory, phonetic, swallowing and aesthetic functions.
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Cetilia, Mark. "Pulse Shape 22: Audiovisual Performance and Data Transmutation." Leonardo 49, no. 4 (August 2016): 317–23. http://dx.doi.org/10.1162/leon_a_01284.
Повний текст джерелаАнотація:
Pulse Shape 22 is an improvisational audiovisual performance featuring shortwave radio transmissions as the sole source material for real-time audio processing alongside video of the sun projected through cast-glass lenses designed specifically for this piece. The structure of the piece is derived from metrics on energy accumulation over a period of 2.2 nanoseconds resulting from the targeting of 60 laser beams on a single tetrahedral hohlraum in weapons testing experiments as carried out by the Los Alamos Inertial Confinement Fusion unit, at the Omega Laser Facility at the University of Rochester. Pulse Shape 22 is an exploration of architectural space through the use of site- and time-specific information found in regions of the electromagnetic spectrum outside the reaches of the human sensory apparatus. It is an attempt to alter the audience’s perceptions of their surroundings and create a moment of rupture from hidden worlds found in our local environment.
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Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.
Повний текст джерелаАнотація:
The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.