Suchergebnisse

In the publication, based on the analysis of ancient Russian chronicles, archeological data and folklore sources, the reconstruction of the main stages of the biography of one of the most beloved epic heroes of the Russian people - Dobrynya Malkovich is carried out. The authors presented several hypotheses for the origin of Dobrynya, consistently modeled historical events associated with the main milestones in the biography of the main associate of Prince Vladimir Svyatoslavich. The study emphasizes the exceptional role of Dobrynya in the historical events associated with the coming to power of his nephew in Novgorod and Kiev, as well as in carrying out the religious reforms of Prince Vladimir.

The story of Omar al-Mukhtar resisting Italian colonisation of Libya had great potential as a rallying point for anti-colonial sentiment in the Indies stirred up by Islamic politicians under a Pan-Islamic banner. The Dutch colonial government was quite aware of the issue's sensitivity. It forbade newspapers and Islamic leaders from even mentioning the story of Omar al-Mukhtar with the result that the proposed boycotts against Italy could not become widespread. The effectivity of Dutch policy snuffed out the possibility of the figure of Omar al-Mukhtar becoming a rallying point for those politically active in the struggle against colonialism. Those that would become Indonesian National Heroes with Islamic roots were in fact figures re-cast in a national, secular mould. After ndonesian independence it was national, local identity which dominated over that of Islamic martyrdom.[Kisah perjuangan Omar al-Mukhtar dalam melawan kolonialisasi Italia menjadi kisah yang menginspirasi gerakan anti-kolonialisme di Hindia-Belanda yang dimotori oleh kalangan politisi muslim melalui semboyan Pan-Islamisme. Pemerintah kolonial Belanda merespon dengan hati-hati isu sensitif ini dengan melarang koran dan pemimpin Muslim menceritakan kisah perjuangan Omar al-Mukhtar. Namun, pelarangan ini tidak cukup berhasil. Omar al-Mukhtar menjadi inspirator gerakan anti-kolonialisme. Mereka yang disebut sebagai pahlawan nasional dengan latar belakang muslim sebenarnya tokoh-tokoh yang dihadirkan dengan nuansa nasional/sekuler. Setelah Indonesia merdeka, identitas lokal-nasional itulah yang kemudian lebih dominan ketimbang identitas keislaman.]

Following the notion that a greater variety of actors can engage in practices of memory work, the aim of our study is to understand how the polyphony of memory evolves in social media networks. We thus conducted an explorative study of accounts for historical figures on Instagram. The accounts were analysed regarding their thematic accentuations, the kind of material employed and presented, the level of professionalism and the social media authenticity they exuded. The result of the study is a typology of accounts for historical personalities on Instagram. We can distinguish between the following six types: virtual exhibition, social media autobiography, artist's portfolio, inspirational quotes, iconic figure and meme.

Among the representatives of the T. Shevchenko Ternopil Regional Academic Ukrainian Drama Theater, occupies an important place Vyacheslav Khimyak, an actor of the theater and cinema, People's Artist of Ukraine, laureate of all-Ukrainian and regional awards in the field of culture and art.During his work in the Ternopil Drama Theater, Vyacheslav Khimyak played many versatile performances, creating more than a hundred images. It was interesting and extraordinary that the actor played the role of historical heroes, who are known in their history of the Ukrainian nation by their state-political and military achievements.Bright and talented Vyacheslav Khimyak played the role of Ibrahim pasha in the performance "Roksolana", which took place in 1985 on the stage of the Ternopil drama theater. Vyacheslav Khimyak, performing the role of Ibrahim, tried to show cynicism, insidiousness to a new captive Roksolana in the Suleiman harem. During the performance, it is noticeable how Ibrahim-Khimyak tries to serve his master, in order not to fall into his disgust. In the play, the actor depicts Ibrahim as a good friend and at the same time, a true servant of Suleiman.In the performance "Roksolana" Vyacheslav Khimyak declared himself as a self-sufficient actor, able to approach as closely as possible in his game to the historical realities that were characteristic of this time.In 1987 at the T. Shevchenko Ternopil Drama Theater, took place the premiere of the performance "Danylo Halitskyi". In the performance Vyacheslav Khimyak created the stage image of King Danylo Halytskyi. Actor his game showed the history of King Danylo, taking into account all the complexities and contradictions of his character, showed his formation as a man and a politician. On the stage, V. Khimyak portrays Danylo Halytskyi as a politician, as a diplomat, who seeks to regain independence for his people, establish peace in Rus. The embodiment of Vyacheslav Khimyak in the image of Danylo Halytskyi convincingly proved the ability of the actor to reproduce ...

Sculptural monuments to saints are a characteristic phenomenon of the religious and cultural landscape in new Russia. They have already become a mass tradition and moreover strategies of social interactions with monuments characteristic of the current urban environment have spread to them. The latter circumstance is recorded, among other things, in the latest scientific research of urban folklore and anthropology. The article deals with one specific group of monuments to saints which has not yet received special attention. These are monuments to secular persons who were awarded holiness after death, sometimes even after a long period of time. As a rule, these are statesmen or military leaders who have played a significant role in the history of Russia. Many of such monuments combine the features of a civil monument to the hero or the city and of an object of religious worship, accompanied by appropriate symbols and attributes. That combination allows them to perform the functions of 'dual purpose': they are used both as 'Memory space' in rituals associated with the formation of a certain historical identity and in Orthodox religious ceremonies. Such a duality is expressed not only in the mixing of elements of secular and church commemoration in the public consciousness, but also manifests itself in individual piety in which the representations of the 'holiness' of a particular historical person are transferred to the sculptural image.