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1
Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.
Повний текст джерелаАнотація:
This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article (2009). Yugoslav topics in interwar music periodicals are addressed in an ecstatic tone by the music writers and editors (particularly immediately after the foundation of the Kingdom of Serbs, Croats and Slovenes); one also observes open dissent and criticism of undesirable, wasted tendencies. Signs of profound differences with respect to the fundamental aspect of Yugoslav ideology - i.e. on the question of the nature and degree of the unity of nations under the auspices of the ideology, appeared relatively early in these journals. I argue that three elements: open enthusiasm, criticism/polemic and fundamental differences, constituted a framework within which the Yugoslav ideology was expressed in the Serbian musical periodicals. The third aspect has proved to be crucial. One could observe two different and even opposing views on the Yugoslav ideology. While some musicians strongly advocated integral Yugoslavism, others wanted the preservation of distinctive national features within this ideology. This division is illustrated by the writings of Croatian composer and ethnomusicologist Bozidar Sirola and Serbian composer and music critic Milenko Zivkovic. The division in question culminated in the case of the South Slavic Choral Union, which Croatian Choral Union refused to join. Hence, Serbian music periodicals provide an insight into the fundamental ideological and political problem of the Kingdom of Yugoslavia.
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Vincenzini, Vincenzini. "El nacionalcatolicismo fascista de José Pemartín: entre el monarquismo circunstancial franquista y el monarquismo institucional tradicionalista." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 11 (June 22, 2022): 498–513. http://dx.doi.org/10.18239/vdh_2022.11.24.
Повний текст джерелаАнотація:
En este estudio analizaremos el recorrido de los católicos reaccionarios a partir de la Guerra de Independencia y su cambio de antinacionales a nacional-católicos hasta convertirse en fascistizados en el periodo entre la Guerra Civil y el estallido de la Segunda Guerra Mundial. En ese sentido cabe destacar la labor de José Pemartín. La centralidad del estudio la ocupan tres temas contenidos en su obra más importante, Qué es lo Nuevo: la diferencia de matices con respecto a los valores expresados por otros intelectuales nacional-católicos anteriores y contemporáneos a él; la tentativa de conciliar el ideario nacional-católico con las ideas falangistas; y la doctrina fascista. Palabras clave: nacional-catolicismo, fascismo, monarquismo, institucional, circunstancial, tradicionalismo.Topónimo: EspañaPeríodo: Siglo XX ABSTRACTThis study analyses the path traversed by Catholic reactionaries after the War of Independence and their transition from antinational to National Catholic until they converted to Fascism during the period between the Civil War and the outbreak of World War Two. In this respect, it is worth highlighting the work of José Pemartín. This study mainly focuses on three themes in his most important creation, Qué es lo Nuevo: the differences in tone in comparison with the values expressed by both earlier and coetaneous National-Catholic intellectuals; the attempt to reconcile National-Catholic ideology with Falangist thinking; and Fascist doctrine. Keywords: Nacional-Catholism, Fascism, monarchism, institutional, circumstantial, traditionalismPlace names: SpainPeriod: Siglo XX REFERENCIASÁlvarez Junco, J. 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Morales Moya, J. P. Fusi Aizpurúa y A. de Blas Guerrero (dirs.), Historia de la nación y del nacionalismo español, Barcelona, Galaxia Gutenberg, pp. 904-913.— (2010), España, año cero. La construcción simbólica del franquismo, Madrid, Alianza Editorial. Casali, L. (1995), Fascismi: partito, societá e Stato nei documenti del fascismo, del nazionalsocialismo e del franchismo, Bologna, Clueb.Casals, X. (2016), La transición española: el voto ignorado de las armas, Barcelona, Pasado Presente.Castro Sánchez, Á. (2018), La utopía reaccionaria de José Pemartí (1888-1954). Una historia genética de la derecha española, Cádiz, Servicio de publicaciones de la universidad de Cádiz. — (2014), Ontología del tiempo y nacionalcatolicismo en José Pemartín y Sanjuán (1888-1954). Genealogía de un pensador reaccionario, Madrid, UNED.Conde García, F. J. (1942), Contribución a la doctrina del caudillaje, Madrid, Ediciones de la vicesecretaría de Educación Popular.Cuenca Toribio, J. M. 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(1941), Los valores morales del nacionalsindicalismo, Madrid, Aguirre.Ledesma Ramos, R. (1939), Discurso a las juventudes de España, Madrid, Ediciones Fe.— (1935) [2017], ¿Fascismo en España? Sus orígenes, su desarrollo, sus hombres, Almuzara, Edición Almuzara.Luca, G. de (1934), Idee chiare, Il Frontespizio, 4.Maeztu, R. de (1934) [2018], Defensa de la hispanidad, Londres, Amazon.— (1975), El sentido reverencial del dinero, Madrid, Editora Nacional.— (1927), La magia del orden, La Nación, Madrid.Maurel, M. (2005), Un asunto de fe: Fascismo en España (1933-1936), en F. Gallego y F. Morente, Fascismo en España, Madrid, El Viejo Topo.Menéndez y Pelayo, M. (1882) [2001], Historia de los heterodoxos españoles, Madrid, Consejo Superior de Investigaciones Científicas.Montes, E. (1934), Discurso a la catolicidad española, Acción Española, IV, 50.Moradiellos, E. (2016), Las caras de Franco. Una revisión histórica del Caudillo y su régimen, Madrid, Siglo XXI de España Editores.Morodo, R. (1985), Los orígenes ideológicos del franquismo: Acción Española, Madrid, Alianza Editorial.Mosse, G. (2005), La nacionalización de las masas, Madrid, Marcial Pons.— (2015), Le origini culturali del terzo Reich, Milán, Il Saggiatore.Mussolini, B. y Gentile, G. (1932), La dottrina del fascismo, Roma, Enciclopedia Italiana.Nuñez Seixas, X. M. (2018), Suspiros de España. El nacionalismo español (1808-2018), Barcelona, Crítica.Orestano, F. (1939), Il nuovo Realismo, Milán, Fratelli Bocca,Pemán y Pemartín, J. M. El discurso del señor Pemán radiado anoche, ABC, Sevilla, 26 de agosto de 1936.— (1939) [2015], La historia de España contada con sencillez, Madrid, Ediciones San Román.Pemartín y Sanjuán, J. (1941), Introducción a una filosofía de lo temporal, Madrid, Espasa Calpe.— (1938): Los orígenes del Movimiento, Burgos, Publicaciones del Ministerio de Educación nacional— (1938): ¿Qué es lo nuevo? Consideraciones sobre el momento español presente, Santander, Cultura Española.Pérez Monfort, R. (1992), Hispanismo y Falange. Los sueños imperiales de la derecha española, Ciudad de México: FCE.Preston, P. (1994), Franco “Caudillo de España”, Barcelona, Grijalbo Mondadori.Quiroga Fernández de Soto, A. (2008), Haciendo españoles. La nacionalización de las masas en la dictadura de Primo de Rivera (1923-1930), Madrid, CEPC.— (2007), Los orígenes del nacionalcatolicismo. José Pemartín y la dictadura de Primo de Rivera, Granada, Comares.Redondo, O. (1932), El Nacionalismo no debe ser confesional, Libertad.Reig Tapia. (1995), Franco “Caudillo”: Mito e realidad, Madrid, Tecnos.Río Cisneros, A. del (1968), José Antonio Intímo. Textos Biográficos y epistolario, Madrid, Ediciones del Movimiento.Rocco, A. (1925), La dottrina del fascismo e il suo posto nella storia del pensiero politico, en Renzo de Felice (1971), Autobiografia del fascismo. Antologia di testi fascisti (1919-1945), Roma, Minerva Italica.— (1938), Scritti e discorsi politici di Alfredo Rocco, Milán, Giuffré Editore.Sardá y Salvany, F. (1884) [2011], El liberalismo es pecado, Barcelona, Librería y tipografía católica.— (1883), La Gran tesis española, El Correo Catalán.Saz Campos, I. (2003), España contra España. Los nacionalismos franquistas, Madrid, Marcial Pons.— (2004), Fascismo y franquismo, PUV, Valencia.— (2013), Las caras del franquismo, Comares, Granada.Scheler, M. (1936), El resentimiento en la Moral, Madrid, Espasa Calpe.Sepúlveda Muñoz, I. (2005), I. El sueño de la madre patria: hispanoamericanismo y nacionalismo, Madrid, Marcial Pons.Spengler, O. (1923) [2011], La decadencia de Occidente, Barcelona, Austral.— (1933) [2011], Los años decisivos, Madrid, Altera.Spinetti, G. S. (1933), Il concetto della natura umana, La Sapienza, 1.Tarquini, A. (2013), Il Gentile dei fascisti. Gentiliani e antigentiliani nel regime fascista, Bolonia, Il Mulino.Tomás, J. M. (2001), La Falange de Franco: Fascismo y fascistización en el régimen franquista (1937-1945), Barcelona: Plaza y Janes.— (2019), Los fascismos españoles, Barcelona, Ariel.Tovar, A. (1941), El imperio de España, Madrid, Ediciones Afrodísio Aguado.Tusell, J. (1997), Las derechas en la España contemporánea, Madrid, UNED.— (2006), La historia de España en el siglo XX: La dictadura de Franco, Taurus, Madrid.Tuñon de Lara, M. (1993), El régimen de Franco (1936-1975), Madrid, UNED.Vegas Latapie, E. (1938), Romanticismo y democracia, Santander, Cultura Española.— (1989), Los caminos del desengaño. Memorias políticas (1936-1938), Madrid, Tebas.Viñas, A. (2007), Franco, Hitler y el estallido de la Guerra Civil. Antecedentes y consecuencias. Alianza Editorial: Madrid.
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Dias, Allister Teixeira. "A pena de morte no debate criminológico do Rio de Janeiro dos anos 1930." Revista Brasileira de História & Ciências Sociais 11, no. 21 (July 10, 2019): 9–40. http://dx.doi.org/10.14295/rbhcs.v11i21.528.
Повний текст джерелаАнотація:
Este texto tem por objetivo analisar parte dos debates criminológicos acerca da pena de morte no Rio de Janeiro nos anos 1930, com especial atenção para o conteúdo e maneira como os saberes biomédicos e psicológicos foram mobilizados. O recorte se justifica pelo aumento do debate sobre o assunto na ambiência intelectual médico-jurídica do período, sobretudo entre 1934 e 1939. Centraremos nossa análise nos posicionamentos dos membros da Sociedade Brasileira de Criminologia (SBC), e no conteúdo do livro do advogado Jurandyr Amarante, A Pena de Morte (1938). Tal análise é feita com a inscrição e cotejamento de seus posicionamentos em meio a comunidade de debate da qual fazia parte. Procura-se, por um lado, perceber quais as ideias e noções biológicas e psicológicas mobilizadas na oposição e a favor da pena de morte, com ênfase no tema da (in) corrigibilidade dos criminosos e mostrar de que maneira o tema trazia à tona posicionamentos políticos gerais e específicos juristas e médicos.
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Zocco, Gianna. "Disturbing the Peace of “Two Not So Very Different” Countries: James Baldwin and Fritz Raddatz." James Baldwin Review 3, no. 1 (October 4, 2017): 89–109. http://dx.doi.org/10.7227/jbr.3.6.
Повний текст джерелаАнотація:
When James Baldwin in No Name in the Street discusses the case of Tony Maynard, who had been imprisoned in Hamburg in 1967, he emphasizes that his efforts to aid his unjustly imprisoned friend were greatly supported by his German publishing house Rowohlt and, in particular, by his then-editor Fritz Raddatz (1931–2015). While the passages on Maynard remain the only instance in Baldwin’s published writings in which Raddatz—praised as a courageous “anti-Nazi German” and a kindred ally who “knows what it means to be beaten in prison”—is mentioned directly, the relation between Baldwin and Raddatz has left traces that cover over fifty years. The African-American writer and Rowohlt’s chief editor got to know each other around 1963, when Baldwin was first published in Germany. They exchanged letters between 1965 and 1984, and many of Raddatz’s critical writings from different periods—the first piece from 1965, the last from 2014—focus of Baldwin’s books. They also collaborated on various projects—among them a long interview and Baldwin’s review of Roots—which were all published in the German weekly newspaper Die Zeit, where Raddatz served as head of the literary and arts sections from 1977 to 1985. Drawing on published and unpublished writings of both men, this article provides a discussion of the most significant facets of this under-explored relationship and its literary achievements. Thereby, it sheds new light on two central questions of recent Baldwin scholarship: first, the circumstances of production and formation crucial to Baldwin’s writings of the 1970s and 1980s, and secondly, Baldwin’s international activities, his transcultural reception and influence.
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BORIĆ, DUŠAN. "A VIEW OF VINČA FROM CAMBRIDGE: MINNS’ REVIEWS OF THE 1930s PUBLICATIONS BY VASIĆ." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 7–32. http://dx.doi.org/10.19090/i.2016.27.7-32.
Повний текст джерелаАнотація:
The article provides close readings of a series of book reviews of Vasić’s Vinča publications in the journal MAN of the Royal Anthropological Institute in Britain written in the 1930s by Russian and Eastern European studies expert and Cambridge-based archaeologist Sir Ellis Hovell Minns, including his unpublished notes and annotations of the volumes that are kept in the Cambridge University Library. In three installments, first in 1933 and then twice in 1937, Minns reviewed Miloje Vasić’s seminal four volumes of Preistoriska Vinča I-IV, which were published in 1932 and 1936. In these reviews Minns gives his own interpretation of the dating and significance of the site of Vinča-Belo Brdo near Belgrade, but also echoes the majority opinion of leading experts about the finds at the time. The reviews, which have not previously been discussed in literature, provide penetrating glimpses for the history of archaeological thought, especially in Serbia, and reveal important aspects of the international reception of Vasić’s works and his erroneous dating of the site. The purpose of this piece is to contribute to a critical evaluation of foundational figures in Serbian archaeology and can be seen as an extension of a conversation started by Palavestra and Babić in several previously published articles. The article ends by asking to what extent these early omissions in Serbian archaeology set the tone for structuring tropes and persistent traditions that have endured in this regional archaeological school ever since.
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Fortuna, James J. "‘Un'arte ancora in embrione’: international expositions, empire, and the evolution of Fascist architectural design." Modern Italy 25, no. 4 (November 2020): 455–76. http://dx.doi.org/10.1017/mit.2020.61.
Повний текст джерелаАнотація:
This article reconsiders the development of Fascist architecture throughout the late interwar period. It pays especial attention to the structures erected for the most significant international expositions held, or planned to be held, between 1933 and 1942, in order to identify significant trends in Party-sponsored design. It argues that the ‘dynamism’ of Fascist design was a consequence of the regime's preference for an increasingly imperial tone which developed in direct proportion to its increasingly imperial identity. It points to Piacentini and Pagano's Italian Pavilion built for the 1937 Paris Exposition, the first national pavilion constructed following the May 1936 proclamation of empire, as a significant flashpoint in the tension between Fascist interpretations of modern and classical design. This article concludes that the often-overlooked world's fair buildings can be viewed as crystalline distillations of the stylistic experimentation which defined the broader Fascist building programme both in Italy and abroad.
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Choma-Suwała, Anna. "Poezja Natalii Liwyckiej-Chołodnej w tłumaczeniach Józefa Łobodowskiego." Acta Polono-Ruthenica 2, no. XXV (September 24, 2020): 137–54. http://dx.doi.org/10.31648/apr.5623.
Повний текст джерелаАнотація:
Cel artykułu to prezentacja poezji Natalii Liwyckiej-Chołodnej w przed-wojennych tłumaczeniach Józefa Łobodowskiego. Głównym założeniem jest wskazanie przesłanek, którymi kierował się tłumacz w wyborze utworu, przedstawienie właściwości warsztatu poetyckiego i omówienie dokonanych przez niego translacji. Natalia Liwycka--Chołodna (1902–2005) zaliczana do grona tzw. szkoły praskiej ponad 20 lat była związana z Polską. W Warszawie opublikowano dwa tomy jej poezji Вогонь і попіл (Ogień i popiół, 1934) oraz Сім літер (Siedem liter, 1937). W okresie międzywojennym jej dorobek był polskiemu czytelnikowi mało znany. Kilka tłumaczeń jej wczesnej poezji pojawiało się w latach 1934–1938 w „Sygnałach”, „Biuletynie Polsko-Ukraińskim” i czasopiśmie „Wołyń”. Ich autorami byli Tadeusz Hollender i Józef Łobodowski, który opublikował trzy prze-kłady: На розквітлі акації грона (Srebrny księżyc akację ogarnął), На розпуттях(Rue Racine) i На могилі (Nad grobem). Lubelski poeta sięgnął po utwory bliskie jego autorskiej poezji i poglądom politycznym. Omówione translacje są przykładem ekwiwa-lencji dynamicznej, charakteryzuje je energia i osobiste zaangażowanie tłumacza. Zwraca on uwagę na adekwatność semantyczną, ale nie rezygnuje z autorskiej poetyzacji tek-stu. W jego przekładach można odnaleźć wiele elementów mających na celu pobudzenie wyobraźni polskiego czytelnika.
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Dufieux, Philippe. "Hôpital Edouard Herriot à Lyon, Tony Garnier, 1933." Cure and Care, no. 62 (2020): 84–85. http://dx.doi.org/10.52200/62.a.g4wn2u86.
Повний текст джерелаАнотація:
At a time when Lyon celebrates the one hundred and fifty years of the birth of one of the most famous architects of the beginning of the 20th century, Tony Garnier (1869-1948), the observation of the conservation of the works of the designer of the Cité industrielle (1917) is very disturbing. Garnier’s heritage remains extremely fragile and the protection measures are insufficient. Several complexes and buildings have been destroyed and disfigured, for example the Abattoirs de la Mouche in Gerland (Lyon, 1909-1914) that were demolished in 1974. The large hall of the market has been preserved and transformed into a performance hall. Although the Édouard-Herriot hospital (1913-1933) has benefited from the protection of the perimeter of its chapel since 1967, its monumental fireplaces were demolished in 2001 for security reasons and, more recently, the Pavilion H has been destroyed in 2015 with indifference for the construction of a new 18,000 m2 building, designed according to François Chatillon’s (1961-) plans and delivered in 2017.
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Ross, Bruce J. "Tony Rayner 1938 ‐ 1990." New Zealand Economic Papers 24, no. 1 (January 1990): 140–44. http://dx.doi.org/10.1080/00779959009544160.
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Novoselović, Dario, Ruđer Šimek, Krešimir Dvojković, Alojzije Lalić, and Georg Drezner. "Povijesni pregled proizvodnje pšenice u Republici Hrvatskoj." Sjemenarstvo 30, no. 1-2 (November 15, 2017): 55–64. http://dx.doi.org/10.33128/s1.30.1-2.6.
Повний текст джерелаАнотація:
U Republici Hrvatskoj, u razdoblju od 1885. do 2010. godine, požete površine pod pšenicom rasle su do 1964. godine (od 190.000 ha u 1885. god. do 442.000 ha u 1964. god.), a od tada do danas bilježi se pad sve do 2010. godine kada je bila požeta najmanja površina od 141.000 ha. U razdoblju 1885-2010. god., proizvodnja pšenice varirala je od najmanjih 155.000 tona 1897. godine, dok je rekordna proizvo-dnja od 1.6 milijuna tona ostvarena 1990. godine. Promatrajući prosječne prinose, najniži prosječni prinos iznosio je 658 kg/ha (1897. god.), a najveći prinos od 5.483 kg/ha ostvaren je u 2008. godini. U promatranom razdoblju požete površine smanjivale su se na godišnjoj razini od 238 ha, dok su ukupna proizvodnja i prosječni prinosi rasli na godišnjoj razini u iznosu od 8.888 tona ili 37 kg/ha. Analizirajući pojedina razdoblja rezultati pokazuju da su u razdoblju 1885-1914. god. požete površine i proizvodnja rasle na godišnjoj razini od 6.760 ha i 5.473 tone, a prosječni prinosi zrna 5,7 kg/ha/godišnje. U razdoblju 1921-1939. god. požete površine i proizvodnja rasli na godišnjoj razini 2.813 ha i 5.618 tona, a prosječni prinosi zrna 6,5 kg/ha/godišnje. U razdoblju 1945-1991. god. požete površine su se smanjivale na godišnjoj razini od 1.080 ha. Proizvodnja je kontinuirano rasla na godišnjoj razini od 25.026 tona, a prosječni prinos zrna 84 kg/ha/ godišnje. U razdoblju 1992-2010. god. trend smanjivanja požetih površina se nastavio na godišnjoj razini od 2.168 ha, dok je za proizvodnju utvrđeno godišnje smanjivanje od 64 tona. Prosječni prinos zrna rastao je prosječno 61 kg/ha/godišnje.
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Cheng, Chung-ying. "Remembering Tony Cua (1932–2007)." Journal of Chinese Philosophy 34, no. 2 (February 19, 2007): 320. http://dx.doi.org/10.1163/15406253-03402014.
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Ernst, Wolfgang. "Nachruf: Tony Weir (1936–2011)." JuristenZeitung 67, no. 7 (2012): 352. http://dx.doi.org/10.1628/002268812800161104.
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Cheng, Chung-ying. "REMEMBERING TONY CUA (1932?2007)." Journal of Chinese Philosophy 34, no. 2 (June 2007): 315. http://dx.doi.org/10.1111/j.1540-6253.2007.00418.x.
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Krishnamurthy, P. "Prof. Tony Naldrett (1933–2020)." Journal of the Geological Society of India 96, no. 2 (August 2020): 207–8. http://dx.doi.org/10.1007/s12594-020-1529-6.
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David, Andrew. "Obituary. Tony Clark 1930-1997." Archaeological Prospection 4, no. 4 (December 1997): 239–41. http://dx.doi.org/10.1002/(sici)1099-0763(199712)4:4<239::aid-arp91>3.0.co;2-f.
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Costa, Adriana. "Tiger Rag na interpretação do Le Quintette du Hot Club de France: história, análise e práticas de performance." Per Musi, no. 23 (June 2011): 82–88. http://dx.doi.org/10.1590/s1517-75992011000100009.
Повний текст джерелаАнотація:
Estudo sobre a assimilação do jazz na cultura popular francesa dos anos de 1930 e criação de uma sociedade de entusiastas desse estilo, especialmente em torno do Le Quintette du Hot Club de France. A transcrição e análise de Tiger Rag, música dos membros da Original Dixieland Jazz Band (Nick La Rocca, Eddie Edwards, Tony Sbarbaro, Larry Shields e Harry da Costa) na interpretação do Le Quintette (LE QUINTETTE DU HOT CLUB DE FRANCE, 1934, remasterizado em 1993) revela suas práticas de performance, especialmente de seus solistas: Django Reinhardt, no violão, e Stephane Grappelli, no violino.
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Giles, D. E. A. "Anthony Clement (Tony) Rayner 1938–1990." Econometric Theory 6, no. 3 (September 1990): 403. http://dx.doi.org/10.1017/s0266466600005338.
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Le Thi Ngoc, Anh. "Land symbol in the trilogy The House of Earth by Pearl S. Buck." Journal of Science Social Science 65, no. 8 (August 2020): 61–67. http://dx.doi.org/10.18173/2354-1067.2020-0050.
Повний текст джерелаАнотація:
Pearl S. Buck was the first American female writer (later Toni Morrison) to receive the prestigious Nobel Prize for literature in 1938. Her writing pages have created streaks of spectroscopy that have a strong, lasting effect on world literature from the 30s of the twentieth century. In particular, with Good Land, Divided Sons and Families are works in the trilogy of The House of Earth, and she received the William Dean Howells medal from the Academy of Arts and Sciences. Arts and Literature for the best writing in 1931-1935, at the same time, it also helps her name in the world. Up to the present time, nearly 70 of her compositions can still be found in isolated villages and farms in Tanzania, New Guinea, India, Colombia or in a hut in Malawi. The object of literature, after all the "land" and "the", and each writer often "freeze" a land of their own, a social class to tell, to describe and dissect. Pearl Buck chose vast country like China and the most populous in the world, rather than her native country, to "ground" his art. Despite of living in the land of China only about three decades, time only a third of the life she lived, but the land and the people here have written off the source of her career, which she wrote more works profound value. Through the land symbol in the trilogy of The Real Estate, Pearl S. Buck pointed out the organic relationship between land and people.
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Pryce, Huw. "Obituary: Antony David ('Tony') Carr, 1938–2019." Welsh History Review / Cylchgrawn Hanes Cymru 30, no. 1 (June 1, 2020): 121–25. http://dx.doi.org/10.16922/whr.30.1.7.
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SUPRUN-JAREMKO, Nadiya. "INTERPRETATION OF INDIVIDUAL LOCAL PERFORMANCE STYLES OF SONG TRADITION OF UKRAINIAN KUBAN." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 104–18. http://dx.doi.org/10.30970/vas.20.2019.10644.
Повний текст джерелаАнотація:
In the proposed the author, based on collected in 1990-1996 on the territory of the historical Black Sea region (the steppe part of the modern Krasnodar Territory of the Russian Federation ) and personally transcribed multi-genre Ukrainian folk song (more than 1.000), has studied and interpreted the individual local performance styles of five Kuban folk female singers of high artistic level. Having defined the style as a musical-aesthetic and musical-historical category, one the interpretations of which is the individual manner of specific creative work, and connected the word-group of the performance song of oral functioning with the notion of interpretation as an individual explanation of musical ethnic work in the process of its performance, the author specifies local song styles of the Ukrainians’ Kuban tradition through the artistic description of its brightest (accented) representatives. Thus, the basis of melismatic performance style by Olga Demianenko (born in 1911, Starokorsunska village, Soviet district of Krasnodar) is the drawling vocalization of poetic syllables and improvisational and free creation of the song composition. Liuboy Korchina (born in 1931, Nedvedivska village, Tymoshivsk district) demonstrated a refined, recitative-cantilene ornamental style of instrumental type, saturated with tirades, passages, grace notes, and fioritures. Nataliia Sliepchenko (born 1935, Starodzhereliivska village, Poltava district) possesses a bright ornamental recitative-cantilenestyle with elements of fioriture and “overtone” (by its definition) manner of intoning. Sophia Nesterova (born 1916, Starokorsunska village) tends to drawlingsinging of song’s melodic details and variationalcouplets formation. Antonina Shakhvorostova’ (born 1928, Voronezka village, Ust-Labinsky district) cantilenadrawlingstyle,which was influenced by the Old Cossack Don singing, can be called contaminated Ukrainian-Kuban, where сantilenе linearity seems to modulate from tone to tone in aflow of “viscous” melointoning. These singers, for many years of their efficient creative life, provided for own self-expression, contributed to accumulation and update of the stable and mobile fund of the melodic-rhythmic elements in “own” local environment and, despite sufficient social challenges, total Russification and offensive of local consciousness and regional system of standards, maintained national constant signs of primary culture.
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Andreopoulos, George J. "The International Financial Commission and Anglo-Greek Relations (1928–1933)." Historical Journal 31, no. 2 (June 1988): 341–64. http://dx.doi.org/10.1017/s0018246x00012917.
Повний текст джерелаАнотація:
The final phase of Venizelism (1928–1933) has traditionally been considered as a period of considerable foreign policy accomplishments (e.g. friendship treaties with Italy, Yugoslavia and Turkey). Yet despite the attention which has been paid to these agreements, the period was clearly marked by the government's drive towards internal infrastructural changes via its commitment to extensive public works programmes. This effort necessitated a huge influx of capital from abroad; in fact, in the period between 1924 and 1931 more money entered the country than at any time since 1875–90. In this context, Britain's influential role was further enhanced as a result of the indispensability of the London credit market, and her financial presence in Greece was to set the tone and pace of Anglo-Greek relations. Probably no institution reflected this uneven relation more accurately than the International Financial Commission (I.F.C).
22
AN, Se-yeong. "The Installation of the Defense against the Floods Organization by the Japanese Government General of Korea and Its Defense Activities against Flood Damage in the 1930s." Association for Korean Modern and Contemporary History 106 (September 30, 2023): 181–214. http://dx.doi.org/10.29004/jkmch.2023.09.106.181.
Повний текст джерелаАнотація:
This paper investigates the defense against floods organization that was installed after the great flood damage of 1934 and had been active since. Called following the flood damage of 1934, the temporary investigation committee for flood control resolved to establish a defense against floods organization in each province. They first compared Japan’s irrigation association act with Joseon’s rules for the defense against floods organization.
They also analyzed the table of organization in the defense against floods organization. The defense against floods committee was called mainly by the high-ranking officials of each province for every rainy season and served as a control tower to supervise the overall reactions to flood damage. The defense against floods organization worked as an action member to practice its measures.
The defense against floods organization carried out the following activities: first, they practiced technologically. Their emergency method of construction against floods was an emergency measure for such accidents as the breaking and leakage of an embankment; secondly, they assisted police activities, restricting words and actions regarding flood damage to stabilize the public sentiment; and finally, they served at local events, advertising the legitimacy of power. After the Sino-Japanese War broke out in 1937, they collaborated with Japan for its war efforts like other organizations supportive of the war.
The study also examined the significance and limitations of the defense against floods organization through its activities. Its biggest issue derived from its financial crunch as a local organization. There was no proper anti-erosion work, and meteorological observation facilities were in shortage. These factors made the organization’s activities difficult, but it was opposite to the overall positive tone of media reports. The activities of the organization were integrated into the guard defense organization in 1939, which marked the end of the organization.
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Bezić, Nada. "Tone Kralj kot ilustrator glasbenih publikacij." Ars & Humanitas 11, no. 1 (July 31, 2017): 134–46. http://dx.doi.org/10.4312/ah.11.1.134-146.
Повний текст джерелаАнотація:
Leta 2011 sem med pripravami na razstavo Art déco v Hrvaškem glasbenem zavodu v knjižnici in arhivu te zagrebške institucije našla precej zanimivega gradiva (note, knjige, koncertne liste itd.). Šlo je za likovna dela 15 avtorjev, rojenih v poznem 19. stoletju, zvečine Hrvatov. Med eksponati je bila izjema, notna izdaja iz moje zbirke z naslovom Kadar jaz, dekle, umrla bom. To so priredbe ljudskih pesmi za mešani zbor, delo Brede Šček (1893–1968), ki so bile objavljene v Trstu leta 1933. Ilustracijo na platnici je izdelal Tone (Anton) Kralj (1900–1975), slovenski slikar, grafik in kipar, ki je skladateljico B. Šček verjetno srečal na začetku 30. let. Med letoma 1932 in 1954 je Kralj ustvaril ilustracije za 27 pesmaric sedmih slovenskih skladateljev: Lojze Bratuž, Ivan Laharnar, Silvester Orel, Stanko Premrl, Breda Šček, Matija Tomc in Vinko Vodopivec. Skladateljev niso povezovale zgolj Kraljeve ilustracije njihovih tiskov, ampak tudi ustvarjanje cerkvene glasbe; poleg tega so bili skoraj vsi Primorci. Prispevek razkriva, da je bila Breda Šček po vsej verjetnosti ključna oseba, ki je pripomogla h Kraljevemu ilustratorskemu delu za glasbene tiske. Hkrati pa članek h katalogu Tone Kralj. Retrospektiva (ur. I. Kranjc, Ljubljana 1998) dodaja še pet na novo odkritih ilustracij za glasbene zvezke Silvestra Orla (4) in Brede Šček (1).
24
Bezić, Nada. "Tone Kralj kot ilustrator glasbenih publikacij." Ars & Humanitas 11, no. 1 (July 31, 2017): 134–46. http://dx.doi.org/10.4312/ars.11.1.134-146.
Повний текст джерелаАнотація:
Leta 2011 sem med pripravami na razstavo Art déco v Hrvaškem glasbenem zavodu v knjižnici in arhivu te zagrebške institucije našla precej zanimivega gradiva (note, knjige, koncertne liste itd.). Šlo je za likovna dela 15 avtorjev, rojenih v poznem 19. stoletju, zvečine Hrvatov. Med eksponati je bila izjema, notna izdaja iz moje zbirke z naslovom Kadar jaz, dekle, umrla bom. To so priredbe ljudskih pesmi za mešani zbor, delo Brede Šček (1893–1968), ki so bile objavljene v Trstu leta 1933. Ilustracijo na platnici je izdelal Tone (Anton) Kralj (1900–1975), slovenski slikar, grafik in kipar, ki je skladateljico B. Šček verjetno srečal na začetku 30. let. Med letoma 1932 in 1954 je Kralj ustvaril ilustracije za 27 pesmaric sedmih slovenskih skladateljev: Lojze Bratuž, Ivan Laharnar, Silvester Orel, Stanko Premrl, Breda Šček, Matija Tomc in Vinko Vodopivec. Skladateljev niso povezovale zgolj Kraljeve ilustracije njihovih tiskov, ampak tudi ustvarjanje cerkvene glasbe; poleg tega so bili skoraj vsi Primorci. Prispevek razkriva, da je bila Breda Šček po vsej verjetnosti ključna oseba, ki je pripomogla h Kraljevemu ilustratorskemu delu za glasbene tiske. Hkrati pa članek h katalogu Tone Kralj. Retrospektiva (ur. I. Kranjc, Ljubljana 1998) dodaja še pet na novo odkritih ilustracij za glasbene zvezke Silvestra Orla (4) in Brede Šček (1).
25
Cantor, Dorothy W. "Toni Bernay (1936-2007)." American Psychologist 63, no. 1 (2008): 57. http://dx.doi.org/10.1037/0003-066x.63.1.57.
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Jockheck, Lars. "Od agenta do kolaboranta? Współpraca żydowskiego publicysty Fritza Seiftera z Bielska z władzami niemieckimi w latach trzydziestych i czterdziestych." Zagłada Żydów. Studia i Materiały, no. 2 (December 2, 2006): 163–76. http://dx.doi.org/10.32927/zzsim.185.
Повний текст джерелаАнотація:
Fritz Seifter, a Jewish-German journalist and Polish citizen, collaborated with the German authorities on two occasions: first during 1933–1934 in Bielsko, where, supported by the Reich Ministry of National Education and Propaganda, he launched his newspaper Jüdische Wochenpost; second, in July 1940, when the General Governor's Department of National Education and Propaganda in Cracow appointed him editor-in-chief and managing director of Gazeta Żydowska. But in either case the circumstances and motives for collaboration differed significantly.
In the case of Jüdische Wochenpost, Seifter completed a project he had been planning to carry out since the late 1920s. His newspaper was to consolidate the bonds of German-speaking Polish Jews with Germany. The Reich Ministry of National Education and Propaganda supported the establishment of this newspaper in order to tone down the opinions of Polish Jews regarding the Nazi regime in Berlin. During 1933–1934 Seifter saw himself as an agent of the German Ministry of Propaganda.
In 1940, German occupation authorities in Krakow searched for and found Fritz Seifter, who was to be appointed editor-in-chief and managing director for the German-planned Gazeta Żydowska, completely controlled by the Germans. Its principal aims were to isolate the Jews even further from their Polish environment, herd them to work and give illusions of hope for emigration after the war.
Thus there was no continuity in Seifter's co-operation with the German authorities, and collaboration was not the case. During 1933–1934, Seifter's main reason to launch his newspaper was German nationalism, which ostensibly linked him to the Germans. In 1940, however, Fritz Seifter no longer acted of his own accord, and any illusions as to the genocidal character of the Nazi regime was out of the question: Seifter alongside the rest of Polish Jews wanted only to survive.
27
Mosusova, Nadezda. "Die Korrespondenz zwischen Petar Konjovic (1883-1970) und Zdenek Chalabala (1899-1962)." Muzikologija, no. 2 (2002): 57–105. http://dx.doi.org/10.2298/muz0202057m.
Повний текст джерелаАнотація:
(nemacki) Slawische Gemeinsamkeit und auch politische Ursachen brachten nach dem Ersten Weltkriege zwei neue Staaten, zusammen, Jugoslawien und Tschechoslowakei. Kulturelle Beziehungen waren sehr lebendig (sie waren auch aktuell vor dem Kriege) auf dem musikalischen Gebiete, in dem Konzertsaal, in der Oper. Besondere Aufmerksamkeit erhob die Oper Kostana (1929) von Petar Konjovic, mit der Premiere in damaligen Jugoslawien in 1931 (Zagreb, Belgrad Ljubljana), die sie auch nach Tschechoslowakei brachte. Nach der Auff?hrung in dem Nationaltheater Brno/Br?nn (ins Tschechisch ?bersetzt von Zdenek Knittl), September 1932, f?r deren Erfolg sich der tschechische Dirigent Zdenek Chalabala sehr engagiert hatte, kam die Oper Kostana in die Sph?re der k?nstlerischen Aufmerksamkeit des Westens (z. B. Universal war sehr interessiert) und dabei auf die Szene des Prager Nationaltheater 1935, auch unter der Leitung von Chalabala. Seine Anstrengungen waren keine blosse H?flichkeit, ?berbieten jedenfalls eine normale zwischenstaatliche Kurtoasie und auch beide Nationaltheater, nich ohne Verdienst dieses Dirigenten stellten ihre beste Besetzungen dem serbischen Tons?tzer zur Verf?gung. Leider verhinderte der Zweite Weltkrieg Kostanas "Drang nach Westen". In der Nachkriegszeit erlebte diese Oper eine Premiere in Bratislava (Slowakei 1948), und noch ein Gastspiel der Belgrader Oper in Warschau (l960). In der Korrespondenz Konjovic - Chalabala handelt sich um die Vorbereitungen der beiden tschechischen Premieren und um die Bearbeitung der Kostana, von Chalabala initiert und von dem Komponisten durchgef?hrt oder autorisiert. Der Briefumtausch dauerte 1932-1940, mit cca 100 Schreiben (hier nur ein Viertel geschildert). Ein Teil der Korrespondenz, die Briefe von Konjovic zu Chalabala, kamen auf private Weise von der Dirigenten Witwe Bela Rosumova (Operns?ngerin, Br?nner Kostana) durch die damalige pensionierte Solistin der Zagreber Oper, Marta Wellar-Rak (?brigens ?bersetzerin ins Deutsch der Texte in den Kompositionen von Konjovic) zu Autorin dieser Pr?sentation. Die Briefe von Konjovic zu Chalabala haben keine Signatur, wie auch die ganze Korrespondenz von Konjovic, die sich wie der komplete Nachlass des Komponisten in dem Musikwissenschaftlichen Institut SANU in Belgrad befindet. Als wichtigste Resultat dieser Zusammenarbeit, entstand, nach beiden Premieren, ein neues Bild der Oper (statt 5 hat Kostana in endg?ltiger Fassung 6 Bilder), dass Konjovic iM Jahren 1936-8 komponierte. Bald nach der Prager Auff?hrung von Kostana bekam Chalabala den Dirigentenpost in dem Nationaltheater der Hauptstadt. In dieser Zeit kam auch wegen der Kostanas Erfolge eine Verehrung des serbischen Komponisten: er wurde zum ausl?ndischen Mitglied der Tschechischen Akademie der Wissenschaften gew?hlt (vorher waren das Igor Stravinsky und Karol Szymanovski). Die Premiere der "neuen" Kostana fand in Belgrader Nationaltheater 1940 statt, leider ohne Zdenek Chalabala als Gast am Pult, was Konjovic eifrig w?nschte. (Statt Chalabala war es Lovro Matacic). In derselben Version wurde die Oper nach dem Kriege in Jugoslawien in Zagreb und Belgrad aufgef?hrt, auch in Slowakei. Die Korrespondenz Chalabala - Konjovic schildert eine interessante musikalische Welt in Mitteleuropa 30-en Jahren, mit heute fast vergessenen Pers?nlichkeiten, wie die hervorragenden tschechischen Operns?nger, auch die serbischen Regisseure, Komponisten, Dramaturgen, Musikwissenschaftler und Herausgeber.
28
Fogel, Joshua A. "Naitō Konan (1866-1934) and Chinese Historiography." Historiography East and West 1, no. 1 (2003): 137–53. http://dx.doi.org/10.1163/157018603764967578.
Повний текст джерелаАнотація:
Abstract Naitō Konan (1866-1934) was one of towering figures of twentieth-century Sinology, in Japan, China, and elsewhere. His theories concerning Chinese history continue to influence us all, often through secondary or tertiary means. Among his many books and articles is a large volume entitled Shina shigaku shi (History of Chinese historiography), arguably the first such comprehensive work in any language and still unsurpassed to this day, roughly eighty years after the chapters which comprise it were first delivered as lectures in Kyoto. Naitō argued that Chinese historical writing was divided, as we all know now, into two traditions: the comprehensive style (tongshi) launched by Sima Qian and the single-period style (duandai shi) begun somewhat later by Ban Gu. Naitō himself always favored the former, and he showed a marked predilection for the major historical works over the centuries by Chinese with the character tong in their titles: such as Liu Zhiji's Tong shi, Du You's Tong zhi (about which he lectured before the Japanese emperor in 1931), Ma Duanlin's Wenxian tongkao, and most notably Zhang Xuecheng's Wenshi tongyi. He did not disragrd or disrespect the duandai shi approach, but he did believe that by cutting off chunks of history one could not get a proper sense of the long-term forces at work in the historical process, what the great French historians later would call la longue durée.
29
Muruzábal del Solar, José María. "Angélico Cabañas, fraile y pintor." Príncipe de Viana, no. 283 (September 8, 2022): 339–69. http://dx.doi.org/10.35462/pv.283.4.
Повний текст джерелаАнотація:
El presente artículo acercará el periplo vital y la producción artística del pintor Angélico Cabañas, natural de Sesma, Navarra, donde nació en 1903. A los quince años de edad, en 1918, ingresó en el noviciado de los Padres Carmelitas, ordenándose sacerdote en 1928. Paralelamente desarrolló su afición pictórica, ingresando el año 1930 en la Academia de San Carlos de Valencia. Vivió mayormente en los conventos de Valencia y Zaragoza, no descuidando el contacto con Navarra. Dejó una producción en tono tradicional y figurativo, constituida por retratos, bodegones y pintura de temática religiosa. Falleció tempranamente el año 1936, asesinado al inicio de la Guerra Civil Española.
30
Jurkowski, Edward. "Alexander Scriabin's and Igor Stravinsky's Influence upon Early Twentieth-Century Finnish Music: The Octatonic Collection in the Music of Uuno Klami, Aarre Merikanto and Väinö Raitio." Articles 25, no. 1-2 (December 17, 2012): 67–85. http://dx.doi.org/10.7202/1013306ar.
Повний текст джерелаАнотація:
This article examines a significant shift in musical style and compositional technique that occurred in Finland during the 1920s, a time during which the music of Jean Sibelius exerted a strong influence. Specifically, I discuss how the octatonic collection, a prominent feature in the music of the two early twentieth-century Russian modernists Igor Stravinsky and Alexander Scriabin, is incorporated as a fundamental harmonic resource in three celebrated orchestral works: Uuno Klami's 1935 "The Creation of the Earth" (movement one from his five-movement Kalevala Suite), movement one from Aarre Merikanto's 1924 Ten Pieces for Orchestra, and Väinö Raitio's 1921 tone poem Fantasia estatica.
31
Wennergren, Göran, and Torsten Tuvemo. "Tony Foucard (1936-2008), a man of honour." Acta Paediatrica 105, no. 12 (November 10, 2016): 1408–9. http://dx.doi.org/10.1111/apa.13558.
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32
Akimova, Anna S. "‘The same Alexey Tried...’: Historical Concept of the First Book of the Novel Peter the Great by A.N. Tolstoy in the Assessment of Soviet Criticism." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 326–38. http://dx.doi.org/10.37816/2073-9567-2023-69-326-338.
Повний текст джерелаАнотація:
The research bases on reviews of Soviet critics collected and systematized for the first time on the works of A.N. Tolstoy dedicated to the Peter’s I epoch such as the story Peter’s Day (1918) and the play On the Rack (1929). These works directly related to the idea of the novel Peter the Great. As shown in the periodical press reviews of the play, as well as of the performance, soon to be staged by the Moscow Art Theater 2 (1929), their perception determined the tone of the papers dedicated to the first book of the novel Peter the Great (1930). The study provides an overview of all six reviews written by Boris Valbe, Gerge Gorbachev, Cornelii Zelinsky, Nikolai Jesuitov et al., and outlines their main provisions and comments. The main drawback, according to critics, was the lack of a Marxist understanding of history in the novel reflected in the selection of historical sources and facts and in the image of the main character, Peter I. Assessing the chronicle order of the composition of the work differently everyone noted the colorful language, cheery humor and dialogues. The reviews of 1931 shaped the main approaches to the evaluation of the novel which will be developed in 1935 after the release of the second book through the concept of a lonely ruler, historical parallelism, i. e. solving the issues of modernity based on the Peter’s epoch, reflection in the novel of the role of “trading capital”. The study of the reception of the first book by A.N. Tolstoy will allows us determining its role and significance in the historical and cultural context as well as — more broadly — considering the main approaches to the evaluation of the historical novels and the representation of images of historical figures in Soviet culture.
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Ying, Xiaoli, Wenjuan Li, and Changfa Zhou. "A Review of the Genus Cloeon from Chinese Mainland (Ephemeroptera: Baetidae)." Insects 12, no. 12 (December 7, 2021): 1093. http://dx.doi.org/10.3390/insects12121093.
Повний текст джерелаАнотація:
The widely distributed and species diverse genus Cloeon Leach, 1815 has never been reviewed in China, although nine species names have been reported from this country. After checking types of two species (C. viridulum and C. apicatum) and newly collected materials from more than 50 sites, four species are recognized, compared, and photographed in this research. Among them, the species C. bicolor Kimmins, 1947 is first recorded in China, and its nymphs are described for the first time. The distribution in China of two other species (C. dipterum (Linnaeus, 1761) and C. harveyi (Kimmins, 1947)) are also confirmed. The two species established by Navás (C.apicatum Navás, 1933 = C. navasi Bruggen, 1957, C. pielinum Navás, 1933, syn. nov.) and the species C. micki named by Tong and Dudgeon in 2021 are synonymized with C. viridulum Navás, 1931—the fourth species in this study. Furthermore, the C. virens Klapálek, 1905 from the Chinese mainland, found by Ulmer in 1925, is also regarded as the last species. Among the four species, the C. dipterum and C. harveyi seem closer because of the similar female color patterns of their stigma and ventral abdomen, while the species C. viridulum and C. bicolor are more alike because they have neither pigmented stigma nor stripes on abdominal sterna.
34
Lenoe, Matthew E. "Agitation, Propaganda, and the 'Stalinization' of the Soviet Press, 1922-1930." Carl Beck Papers in Russian and East European Studies, no. 1305 (January 1, 1998): 111. http://dx.doi.org/10.5195/cbp.1998.78.
Повний текст джерелаАнотація:
Between 1925 and 1933 the layout and tone of the Soviet central press underwent a plainly discernible change. Issues of Pravda and Izvestiia from the period of the New Economic Policy or NEP ( 1921-1927) contain journalistic genres familiar to the American reader: the wire service report written in an "objective" style, the editorial commentary, the economic analysis, the shortsatirical piece about everyday life. The shrill declamation, exhortation, and didacticism of the same newspapers in the early 1930s, on the other hand, seem alien and bizarre. Exclamation marks, commands, military metaphors, and congratulations from Party leaders to factories for surpassing their production plans fill central Soviet papers from 1933. Sometimes the press castigates readers like a parent scolding naughty children, sometimes it lectures them like a teacher,sometimes it exhorts them to action, like a platoon leader urging his troops forward. Aggressive declamation about "Bolshevik tempo," "Bolshevik competition," "Fascist depravity," and "gargantuan victories of the proletariat" blares from the pages.
35
Cisneros, Luis Benjamín. "Paginas olvidadas." FENIX, no. 10 (January 4, 2021): 261–82. http://dx.doi.org/10.51433/fenix-bnp.1954.n10.p261-286.
Повний текст джерелаАнотація:
Bajo los auspicios del Ministerio de Educación Pública fueron recopiladas y editadas las Obras Completas de Luis Benjamín Cisneros, al conmemorarse, en 1937, el primer centenario de su nacimiento. Pero los tres volúmenes, aparecidos en 1939, no incluyeron todos los escritos del celebrado poeta.Y es posible que a ello coadyuvaran: la dispersión y aún la destrucción física de las publicaciones donde aquel colaboró; algún posible auto de fé, llevado a cabo por el propio autor al depurar su estilo y juzgar que sus trabajos juveniles no armonizaban con el tono logrado en la fase definitiva de su vida; y quizá la premura del plazo señalado a los compiladores para efectuar la edición.
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Kostecka, Weronika, Grzegorz Leszczyński, and Maciej Skowera. "Kamienie milowe w dziejach polskiej literatury dziecięcej i młodzieżowej. Leśmian – Korczak – Brzechwa." Prace Filologiczne. Literaturoznawstwo, no. 11 (14) (June 20, 2021): 203–22. http://dx.doi.org/10.32798/pflit.544.
Повний текст джерелаАнотація:
Autorzy artykułu proponują w badaniach nad rozwojem rodzimej literatury dziecięcej i młodzieżowej koncepcję kamieni milowych, zaczerpniętą z międzynarodowych badań w tej dziedzinie (zwłaszcza ze studiów anglojęzycznych). Ta kwestia zostaje rozważona w odniesieniu do prozy i w kontekście nowoczesności (rozumianej jako formacja kulturowa). Jako dzieła literackie, które miały charakter przełomowy w pierwszej połowie XX w., zostają wskazane utwory Bolesława Leśmiana (Przygody Sindbada Żeglarza i Klechdy sezamowe; oba tomy wydane w 1913 r.), Janusza Korczaka (dylogia o Królu Maciusiu, 1923, Kiedy znów będę mały, 1925, oraz Kajtuś Czarodziej, 1934) i Jana Brzechwy (Akademia Pana Kleksa, 1946). Autorzy omawiają nowatorstwo treściowe i formalne tych utworów oraz ich wpływ na rozwój polskiej literatury dziecięcej i młodzieżowej.
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Winkelmann, Ingo. "Antonius “Tono” Eitel † (1933–2017)." Volume 60 · 2017 60, no. 1 (January 1, 2018): 11–14. http://dx.doi.org/10.3790/gyil.60.1.11.
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Pagès, Maria. "The shift to national Catholicism and the Falange in the Second World War: The case of Garbancito de la Mancha (1945)." Journal of Visual Political Communication 6, no. 1 (June 1, 2020): 81–106. http://dx.doi.org/10.1386/jvpc_00004_1.
Повний текст джерелаАнотація:
This article analyses the political undercurrents running through the first European hand-drawn animated feature-length film, which was made in Barcelona in 1945. It was titled Garbancito de la Mancha and will be analysed at discursive, iconic and visual levels. The goal is to establish whether political events during the Second World War years as well as the early years (1939‐45) of the Franco dictatorship are reflected in the film. After the Spanish Civil War (1936‐39), two main political parties struggled to control the nation. One of them was the Spanish version of fascism (the Falange); the other was the Catholic Party (National-Catholicism). The end of the Second World War was to mark a showdown between the two parties for political hegemony. The outcome set the tone for the regime until its demise in 1975 with Franco’s death. Given that the film was made by key political figures of the period, the ideology of the film will be revealed by visualizing the myths and values for the period spanning from 1939 to 1951 when Spain pursued autarky (self-sufficiency).
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Mansfield, Bruce. "A. E. (Tony) Cahill, 1933-2004: Memoir and Tribute." Journal of Religious History 28, no. 2 (June 2004): 123–25. http://dx.doi.org/10.1111/j.1467-9809.2004.00240.x.
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Ashby, Michael. "In Memoriam: Nan Anthony (1933–2014)." Journal of the International Phonetic Association 44, no. 3 (November 25, 2014): 353. http://dx.doi.org/10.1017/s0025100314000310.
Повний текст джерелаАнотація:
Annie (‘Nan’) Anthony died on 1 May 2014 after a short illness. Born Annie Rodger in Dysart in 1933, she gained her MA in Modern Languages in 1955 from the University of Edinburgh, and worked on the Linguistic Survey of Scotland 1956–1958. In 1957 she married James (`Tony') Anthony, who had charge of the Edinburgh phonetics lab. While their children Jo and Chris were young, she worked as a part-time lecturer in the Edinburgh Phonetics Department, and the family spent the academic year 1963–64 in the USA, Tony researching in Peter Ladefoged's new laboratory at UCLA. From 1966 Nan was Research Phonetician in the Department of Child Life and Health at Edinburgh, a period of work which led to The Edinburgh Articulation Test (Anthony et al. 1971), a significant clinical assessment tool. In 1971 she moved to Moray House College of Education, where she remained for the rest of her career, becoming Head of the Department of Speech there in 1982.
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Pereira, Lara Rodrigues. "A criação do Instituto Nacional de Cinema Educativo na Era Vargas: debates e circulação de ideias." Cadernos de História da Educação 20 (April 9, 2021): e025. http://dx.doi.org/10.14393/che-v20-2021-25.
Повний текст джерелаАнотація:
O artigo que segue trata da criação do Instituto Nacional de Cinema Educativo (INCE), órgão gestado durante o primeiro governo Vargas e que foi inaugurado em 1936. A escolha do administrador do INCE, Roquette-Pinto, foi contextualizada durante o texto, algo que ajudou a explicar certos aspectos científicos alocados nos filmes do Instituto. Trago como fontes, trechos do Decreto-lei n. 21.240 de abril de 1932 que instituiu o órgão, artigos assinados pelo cineasta Humberto Mauro na revista A Cena Muda, recortes de discursos de autoridades políticas e pensadores da educação do período. Esses documentos apontaram para o alinhamento entre cinema educativo e propaganda política, além de trazerem à tona elementos vinculados a uma moral religiosa católica, cuja premissa foi moldar as narrativas cinematográficas produzidas por todo o cinema brasileiro do período, sobretudo o educativo.
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Boniecki, Edward. "Mała litania uroczysta Karola Szymanowskiego." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 262–98. http://dx.doi.org/10.2478/prm-2022-0004.
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ABSTRACT Karol Szymanowski’s Little Solemn Litany Litany to the Virgin Mary Two fragments op. 59 (1930–33) was the last vocal work in Karol Szymanowski’s oeuvre. Its writing marked the end of Szymanowski’s adventure with poetry, which had lasted throughout his activity as a composer. Composed to fragments of Jerzy Liebert’s poem with the same title, from the collection Gusła (1930), it was also a tribute to the young poet-who died prematurely of tuberculosis in 1931-paid by Szymanowski, who was moved by Liebert’s fate. Meeting Liebert became one of the most important spiritual experiences for the composer in the last few years of his life. What brought the two men close on the creative level was Franciscanism as striving for simplicity in art and their attitude to artistic craftsmanship, to the métier. Liebert, who experienced a fervent religious conversion and who introduced a new tone into Polish religious poetry, touched a religious chord in Szymanowski’s soul and helped him to extract more music from the reserves of his religiosity, apparently already exhausted in the opinion of the author of Stabat Mater. In doing so, he contributed to a revitalisation of the composer’s spiritual life and provoked him into carrying out an “examination of conscience”, as it were, which ultimately led to the writing of the Litany. A small masterpiece of vocal lyricism showing new perspectives in Szymanowski’s oeuvre and at the same time a prayer, like Gioacchino Rossini’s Petite messe solennelle.
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El-Maiar, Salem. "John Anthony ‘Tony’ Allan 29 January 1937–15 April 2021." Libyan Studies 52 (October 21, 2021): 7–8. http://dx.doi.org/10.1017/lis.2021.17.
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Moore, P. G. "Peeping at nature with the Reverend Charles A. Hall FRMS (1872–1965)." Archives of Natural History 42, no. 1 (April 2015): 10–22. http://dx.doi.org/10.3366/anh.2015.0275.
Повний текст джерелаАнотація:
Attention is drawn to the contents, pedagogic style and visual appeal of the 17-volume “Peeps at nature” series published by A. & C. Black between 1911 and 1935. Edited by the Reverend Charles Albert Hall (a Swedenborgian minister), who also contributed most of the titles, this series was a quality production but one that was cheap enough to be readily accessible to young readers. Its volumes were written in simple language and included colour pictures. With time, the flamboyant artistry of the covers that so characterized the earlier volumes was replaced by more muted designs, possibly to reduce production costs. Later contributors abandoned anthropomorphism and the moralizing tone of many nineteenth-century popularizers of natural history, although styles of writing varied between the early and later contributors to the series, becoming less technical with time.
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Parovel, Giulia, Marco Prenassi, Walter Coppola, Serena Cattaruzza, and Tiziano Agostini. "Synaesthetic Interactions between Sounds and Colour Afterimages: Revisiting Werner and Zietz’s Approach." Gestalt Theory 44, no. 1-2 (August 1, 2022): 161–74. http://dx.doi.org/10.2478/gth-2022-0012.
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Abstract We ran a pilot experiment to explore, using a new psychophysical method, the hypothesis proposed by Zietz and Werner in the ’30s, that a sound presented simultaneously with an afterimage can change its phenomenal appearance in non-synaesthetes. The method we adopted is able to directly collect and visualise the apparent changes in intensity of the afterimages, by recording observers’ interactions with a physical feedback mechanism (the paths that the observers generated by moving a cursor), without referring to verbal descriptions. These first findings support some of the most meaningful observations reported by Werner (1934) and Zietz (1931), according to which the colours of the afterimages ‘disintegrate’ at the hearing of a low sound and ‘concentrate’ for a high sound. This relationship is particularly evident with the Yellow stimulus, where the perceived colour intensity of its afterimage seems to have a faster negative change with a low-pitched tone sound, and an increase in intensity and duration when perceived simultaneously with a soprano sound. These data are also coherent with the crossmodal correspondences between both pitch and loudness in audition and lightness and brightness in vision reported in the literature.
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Allen, Spencer L. "The Anomaly of Tony Alamo Christian Ministries." Nova Religio 17, no. 4 (February 2013): 61–82. http://dx.doi.org/10.1525/nr.2014.17.4.61.
Повний текст джерелаАнотація:
Currently serving a 175-year prison sentence for transporting underage girls across state lines for sexual purposes, new religious movement leader Tony Alamo (b. 1934) of Tony Alamo Christian Ministries contends not only that Christian men should be polygamous but that they actually are commanded to be by Old Testament polygamy laws. Alamo bases this interpretation primarily upon Jesus’ statement in Matthew 5:17 that he came to fulfill the law, not abolish it. Numerous other New Testament passages regarding marriage and the law are likewise reinterpreted through a polygamous lens, and the Old Testament’s “Holy Men of God” (e.g., Abraham, Jacob and David) are provided as role models. This article examines Alamo’s unique exegetical approach to justify Christian polygamy in twenty-first-century America; further, it compares his methods of maintaining his legitimacy among his followers with those of another modern American proponent of polygamy, the also-imprisoned leader of the Fundamentalist Latter Day Saints, Warren Jeffs.
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Shoemaker, J. Kevin, Prasant Pandey, Michael D. Herr, David H. Silber, Qing X. Yang, Michael B. Smith, Kristen Gray, and Lawrence I. Sinoway. "Augmented sympathetic tone alters muscle metabolism with exercise: lack of evidence for functional sympatholysis." Journal of Applied Physiology 82, no. 6 (June 1, 1997): 1932–38. http://dx.doi.org/10.1152/jappl.1997.82.6.1932.
Повний текст джерелаАнотація:
Shoemaker, J. Kevin, Prasant Pandey, Michael D. Herr, David H. Silber, Qing X. Yang, Michael B. Smith, Kristen Gray, and Lawrence I. Sinoway. Augmented sympathetic tone alters muscle metabolism with exercise: lack of evidence for functional sympatholysis. J. Appl. Physiol. 82(6): 1932–1938, 1997.—It is unclear whether sympathetic tone opposes dilator influences in exercising skeletal muscle. We examined high levels of sympathetic tone, evoked by lower body negative pressure (LBNP, −60 mmHg) on intramuscular pH and phosphocreatine (PCr) levels (31P-nuclear magnetic resonance spectroscopy) during graded rhythmic handgrip (30 contractions/min; ∼17, 34, 52 and 69% maximal voluntary contraction). Exercise was performed with LBNP and without LBNP (Control). At the end of exercise, LBNP caused lower levels of muscle pH (6.59 ± 0.09) compared with Control (6.78 ± 0.05; P < 0.05). PCr recovery, an index of mitochondrial respiration, was less during the recovery phase of the LBNP trial. Exercise mean arterial pressure was not altered by LBNP. The protocols were repeated with measurements of forearm blood flow velocity and deep venous samples (active forearm) of hemoglobin (Hb) saturation, pH, and lactate. With LBNP, mean blood velocity was reduced at rest, during exercise, and during recovery compared with Control ( P < 0.05). Also, venous Hb saturation and pH levels during exercise and recovery were lower with LBNP and lactate was higher compared with Control ( P < 0.05). We conclude that LBNP enhanced sympathetic tone and reduced oxygen transport. At high workloads, there was a greater reliance on nonoxidative metabolism. In other words, sympatholysis did not occur.
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Wei, Shuge. "News as a Weapon: Hollington Tong and the Formation of the Guomindang Centralized Foreign Propaganda System, 1937–1938." Twentieth-Century China 39, no. 2 (2014): 118–43. http://dx.doi.org/10.1353/tcc.2014.0011.
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Wei, Shuge. "NEWS AS A WEAPON: HOLLINGTON TONG AND THE FORMATION OF THE GUOMINDANG CENTRALIZED FOREIGN PROPAGANDA SYSTEM, 1937–1938." Twentieth-Century China 39, no. 2 (April 25, 2014): 118–43. http://dx.doi.org/10.1179/1521538514z.00000000039.
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Marusic, Ivan, and Alexander J. Smits. "Anthony Edward Perry 1937 - 2001." Historical Records of Australian Science 21, no. 1 (2010): 91. http://dx.doi.org/10.1071/hr09022.
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Tony Perry was one of Australia's most outstanding researchers in fluid mechanics, particularly in the study of turbulent fluid motion. He was a gifted experimentalist who advanced the techniques of hot-wire anemometry and quantitative flow visualization to make measurements of unparalleled accuracy to answer fundamental scaling questions. He also made seminal theoretical contributions to the physical modelling of wall-bounded turbulence, and pioneered flow topology approaches for the classification and description of fluid motions. He was a gifted lecturer, devoted supervisor to twenty PhD students, and a passionate and enthusiastic influence on numerous colleagues around the world.