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The subject matter of this paper is the organisation, classification and inspection of religious foundations in the Ottoman State. First, an overview is given of some of the evkaf organisations in general, then the organisation of evkaf in the Ottoman State will be scrutinised in detail before and after the establishment of the Ministry of Foundations (a private ministry for evkaf administration) in 1242/1826. Finally, detailed information will be given about the types of foundations in the 19th century with a cursory glance at the republican period of Turkey.
Summary
This article is concerned with shedding light on two examples of influence between Horace and the Greek poets, both ancient and modern. The aim of this paper is to shed light on several parallel aspects between two of the Alcaic odes of Horace and two modern Greek lyric poems by Constantine Cavafy and Angelos Sikelianos, respectively. Subsequently, I show, within the wider framework of inter-textuality, a subtle example of the utilization and re-utilization of lyric elements that are originally ancient Greek in nature by the Latin and modern Greek poets. In my argumentation, I will rely on textual similarities, as well as on the views expressed by scholars in non-comparative contexts The paper is divided into two parts. In the first part, I compare Horace’s carm. 2. 3 with Cavafy’s Ithaka. The most important points of comparison in this section are three common features: instructive tone, the epicurean tendency and the melancholic end. In the second, I compare Horace’s carm. 1. 37 with Sikelianos’ Dithyramb. The most important points of comparison in this section are three common features, namely, the connection of the Bacchic ecstasy to political issues, the connection of the Dionysiac spirit to the struggle against the national enemy and the association of Bacchic frenzy with hunting and chase.
At the end of the 19th century and in the first half of the 20th century, criminal justice policy was transformed by criminological thinking in Hungary. Enormous changes took place during this period. As Jenő Balogh put it, these did not simply involve the publication of revolutionary works in criminal law, but also the emergence of new branches of science including criminology. Without criminology, there can be no progress in criminal law: “In the chapters with great practical importance in terms of dogmatics, one must use the useful new ideas and latest achievements of the reform directions.”1 Certain criminological terms have become immanent parts of criminal law. It was under the influence of the new ideas that new institutions appeared within the scope of the Penal Code.
Research on cottage industry in the Carpathian Basin has not paid very much attention to work with straw. In peasant self-sufficiency, in addition to wickerwork and rush weaving, plaits made of wheat and rye straw were among the main materials used for agricultural and household storage containers. In some areas the making of straw hats as an income-supplementing activity carried out together with agricultural work also acquired special importance. In the 19th century with the expansion of trade this cottage industry in places rose to the level of a manufacturing industry. At the turn of the century the movements promoting domestic industry and the trade exhibitions gave special impetus to this activity. It flourished right up to the Trianon decision of 1920. As a consequence of the dictated peace Hungary lost around two-thirds of its territory and economic ties were suddenly severed. In some parts of the Great Plain, e.g. in Hajdúnánás (today Hajdú-Bihar County), and especially in the villages of the Székelyföld region, traditional straw hat making has survived right up to the present as a women's activity, providing a livelihood for many women working at home. This article deals with the industrial history background, with questions affecting cottage industry in general, and with the past of once flourishing trade connections, devoting special attention to a few villages in Hungary and in the Székelyföld region in the territory of today's Romania.
, also suggest that as a conclusion of the Rákóczi Bicentenary celebrations one of the most important modern pilgrimages of the early 20th century took place in 1903. 40 References Balla , A. ( 1935 ). II. Rákóczi Ferenc élete . In: Lukinich , I
State Hermitage. With their help, I was able to study the above-mentioned costumes in the collection of the museum in 2010. Tarasova was the curator of the exhibition Servants of the Imperial Court” – Late 19th-, Early 20th-Century Livery in the
visiting a church, drawn by Yuriy Pavlovych, early 20th century ( Skrypnyk ed. in chief 2010 : 378) Popular celebrations of holidays in the Christian calendar were accompanied by folk traditions before the introduction of the atheist communist regime
Gumilev’s work Allah’s Child was published in the art periodical Apollon in 1916. By outlining shortly the theatrical life of the early 20th-century St. Petersburg, this paper is attempting to give an answer to the question why the author created a puppet-show play. Gumilev’s play is one of the works inspired by the East that takes place in the Arabic-Muslim world. This paper does not aim at analyzing Allah’s Child comprehensively, however, it tries to point out, in context of early 20th-century Russian cultural phenomena, the main motifs and aspects of interpretation that moved the attention of contemporary Russian artists to the East.
Behind Musical Stages:
The Role of Concert Bureaus in the Musical Life of Kristiania in the First Decades of the 20th Century
Abstract
The first two decades of the twentieth century were a very vivid period in the musical life of Kristiania. Except for symphonic concerts given by the orchestras of Musikforeningen and the Nationaltheatret audiences had an opportunity to attend many solo and chamber music performances. The organizers of these were first of all concert bureaus existing in the city. Each of them served a group of its own artists – both Norwegian and foreign. The aim of this text is to show what musical life in Kristiania looked like behind the concert stages. The press reviews also revealed a connection between the impresarios' and the music publishers' business. Besides, a comparison between the Norwegian and European impresarios revealed that the period under scrutiny was the moment of transition in the profile of this profession in Norway.
The period lasting from the Compromise betweeen Austria and Hungary in 1867 to World War I was a ‘golden age’ of Hungarian horticulture and garden art. Country houses with their parks belonged traditionally to the way of living of the aristocracy. The ‘construction boom’ generated by a fruitful interplay of the favourable economic conditions of the ‘Gründerzeit’ and the related social needs and financial abilities, resulted in a multitude of new gardens. This surge of development almost coincided with the spread of historical revivalism in garden design from the 1860s and with an increasing role played by Hungarian creators of gardens in addition to foreign specialists who settled or were invited to work here.
The period between the two World Wars did not effect a fatal break in this garden culture. In some cases, this slowly consolidating period brought real efflorescence (e.g. Hatvan, Röjtökmuzsaj, Szeleste), though these places were the exceptions. The construction and transformation of parks together with the modernization of houses continued in the interwar decades (e.g. Dég, Röjtökmuzsaj) and considerable new establishments were also created (e.g. Vajta, Csorvás, Selyp).
The country house gardens of historical revivalism, with their spectacular parterres, avenues, exotic plant rarities grown in the greenhouses or nursery gardens and transferred to the pleasure-grounds or shown at exhibitions, with their sports facilities and family mausoleums represented the prestige of the aristocracy which still clearly played the leading role in politics and society despite their declining economic and cultural influence. Alternatively they expressed the ambition of a new plutocracy to acquire social legitimation for their wealth. In a few cases and in both groups, there was something else: the garden became the site and instrument through which they could achieve accomplishment by means of creative activity.
The present study is a first attempt at summarising the partial results of research that in its initial phase on the topic. It describes 12 sites in detail, 9 from the period between 1880 and World War I, and 3 from the 1920–30s. After the descripions it gives a preliminary overview of tendences and characteristics of the examined period including the transformation of the landscape garden, revivalist structural elements, follies and utilitarian garden structures, statuary and other garden ornaments, landscape gardeners and creative owners, mainteneance and productive gardening, with a lot of further examples and personalities. Finally, a brief outlook closes the study to the post-1945 survival of the gardens described and historical revivalism in garden art in general.