Suchergebnisse

The article, which continues the cycle of works timed to the 200th anniversary of Khusain Faizkhanov (1823-1866), considers the evo lution of methods of historical research of the scientist. It shows the stag es of Kh. Faizkhanov's formation as a historian and reveals the factors of transformation of his views and approaches. The fi rst experience of prepa ration of independent research work was received by Kh. Faizkhanov ap proximately in 1859–1860 when he was writing the general history of the population of the Middle Volga Region. Under the infl uence of his own fur ther discoveries in source study and in-depth research methods, Kh. Faiz khanov, probably, started preparing special scientifi c works on the history of Volga Bulgaria, Kazan, and Kasimov Khanates in 1862. The fi rst of them is considered lost, the other two were not fi nished but were found in the form of manuscripts, the analysis of which made it possible to claim that they were defi nitely included in the later work of Sh. Marjani "Mustafād al- 'aḫbār fī aḥvāl Ḳazān va Bulg̣ār". The contradictions within the work of Sh. Marjani itself lead to the idea that Kh. Faizkhanov's work on Volga Bulgar ia suff ered the same fate.

Taha Toros Arşivi, Dosya Adı: İstanbul Genel Dokümanları ; İstanbul Kalkınma Ajansı (TR10/14/YEN/0033) İstanbul Development Agency (TR10/14/YEN/0033)

Historically, it happened that Ukrainians and Poles, during long historical periods, lived within the same states, such as theAustro-Hungarian or Russian empires, the First and Second Years of Partition, and therefore, in fact, both peoples are involved in the formation of cultural heritage such as, for example, the Osolinski library. Being a gift to the city of Lviv at the beginning of the 19th century, the library grew over the following years, and by the beginning of the 20th century it became one of the richest in Central Europe. Due to the change of borders and the state affiliation of Lviv, as a result of two world wars and the criminal negligence of the Soviet authorities regarding the Ukrainian cultural heritage, a significant part of the Ossolineum's funds ended up on the territory of the Republic of Poland. The transfer of Ossolineum funds by the Soviet side of Poland was carried out in several stages between 1945 and 1987. At the beginning of the 90s of the 20th century, the negotiation process began between Ukraine and the Republic of Poland on the return of Ossolineum to its country of origin. In fact, throughout the 1990s and two decades of the 21st century, discussions between Ukraine and Poland about the ownership of Ossolineum and its restitution to Ukraine continued. Unfortunately, all these negotiations, as of today, have not yielded any results.

In the time since most African countries achieved independence from European colonial powers, it is unfortunate that these nations are still politically, economically, and culturally reordered by their former colonisers. This book argues that these nations often slavishly emulate Western values to the detriment of indigenous ones. It challenges the postcolony to ground itself in local experience and then nativise external values, which entails delicately sifting through both the domestic and foreign worlds to build a decent and humane society.

The purpose of the article is to analyse the problems of historical heredity of performing traditions of the domestic guitar school and to provide a generalised view of the prospects for the development of guitar art in the domestic cultural and educational space in the context of the guitar evolution. Research methods. Historical-theoretical and executive analyses were used to solve the tasks of the research. Scientific novelty. This paper is a highlight of the specifics of performing traditions and national schools, as well as the results of the analysis of prospects for the development of the domestic guitar school in modern conditions. There is an attempt to shed light on the current "postmodern" artistic situation in Ukraine. Conclusions. The article covers the history of the guitar origin as a professional musical instrument and the history of performance on the classical guitar in Ukraine in the context of the influence of Western European performing culture. The development of guitar schools is analysed in tertiary artistic establishments of Ukraine, a guitar art is considered within the framework of actual postmodern discourse and in the context of development of world guitar art.
Key words: Ukrainian guitar school, guitar art, guitar, performing tradition, performing school, historiogenesis of guitar art.