scholarly journals THE CONTINUATION OF THE ISLAMIC DISCOURSE OF THE EARLY XX CENTURY IN DAGHESTAN ARABIC SCRIPT WORKS OF THE SOVIET PERIOD

2018 ◽  
Vol 14 (3) ◽  
pp. 34-39
Author(s):  
Zaira B Ibragimova
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Arabic Language ◽  
Soviet Period ◽  
Early 20Th Century ◽  
Muslim Community ◽  
Modern Times ◽  
Theological Schools ◽  
Arabic Script

The article provides a brief review of the Arabic script works of Daghestan theologians of the Soviet period. Generally, they present a continuation of the discourse, originated in Daghestan in the early 20th century. They deal with the topical issues that also apply to modern times: the ideology of Jadidism, Salafism and Wahhabism, the division into madhhabs, the issues of "falsehood", the payment of zakat and qafarat, conducting of mawlids, ijtihad, taqlid and others. Criticism of Wahhabism is presented in several Arabic-language works of the Sufi sheikh Muhammad al-Asali, written in the 20's of the 20th century. The 40-60’s work "al-Jawab al-sahih li-l-ah al-musallah” by Abd al-Hafeez al-Uhli condemns the activities of the Jadids and Wahhabis. The Arabic-language work of Muhammad al-Habshi "Makalat al-Valiyi Muhammad b. Ahmad al-Habshi li Masail al-arif Shuayb-afandi al-Baghini", written in the 60-70's of the XX century, is devoted to the problem of "falsehood". The ideas of the Daghestani adherents of Jadidism are revealed in the works of Abdurakhim al-Aimaki. These works present various views of Daghestani religious figures, representatives of various theological schools. Some of them refer to the so-called "late Soviet period", closest to modern times, when conflicts among believers became more acute and went beyond the theological polemics. The controversy that lasted throughout the twentieth century testifies to the existence of multi-polar opinions in the Muslim community.

scholarly journals Theological issues on the pages of the tatar press of the early twentieth century

2020 ◽  
Vol 6 (Extra-A) ◽  
pp. 167-173
Author(s):  
Rezeda Rifovna Safiullina - Al Ansi ◽  
Ramil Mirgalimovich Galiullin ◽  
Marat Foatovich Safin
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Thematic Analysis ◽  
Public Life ◽  
Educational Institutions ◽  
Early 20Th Century ◽  
Religious Leaders ◽  
Muslim Community

The relevance of the problem under study is due to the fact that the Muslim community of our region today, as at the beginning of the 20th century, is at an important stage in the transformation of public life. The article is aimed at illustrating the important role of the first Tatar newspapers and magazines in discussing the burning problems of the Ummah, using the examples of publications by Tatar authors of the early 20th century. After a thematic analysis of the articles and classification of theological issues raised by the authors, we can see that there was a plurality of solutions to various problems that were proposed during the discussions. This experience in the field of society reform and the search for effective solutions to the problems facing the Muslim community is extremely important today and can be useful for religious leaders, teachers of Islamic religious educational institutions.    

scholarly journals Jadidist schools in Turkestan and Tatars (based on materials of the Tatar and Uzbek press of early 20th century)

2020 ◽  
Vol 5 (3) ◽  
pp. 466-480
Author(s):  
Lyalya R. Murtazina ◽  
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Local Population ◽  
Soviet Period ◽  
Early 20Th Century ◽  
Educational Literature ◽  
Early Twentieth Century ◽  
History Of

The article highlights contribution of Tatar teachers in organizing Jadidist schools and educating children of the local peoples in Turkestan. Opinions of scientists of the early twentieth century, the Soviet period, and also modern researchers on this problem are presented. Based on the materials from newspapers and magazines of the early 20th century in the Tatar and Uzbek languages, the article highlights the history of the opening of certain schools and their activities. The issues of the the local population representatives’ attitide to the work of Tatar teachers are revealed. In addition, the role and influence of Tatar teachers and their textbooks on publishing educational literature written in the Turkestan peoples’ languages is also emphasized.

scholarly journals Lviv as the cradle of Polish independence organizations

2021 ◽  
Vol 201 (3) ◽  
pp. 534-545
Author(s):  
Janusz Zuziak
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Early 20Th Century ◽  
Social Activists ◽  
The Past ◽  
Independence Movement ◽  
Political Orientations ◽  
History Of ◽  
The Right ◽  
The City

Lviv occupies a special place in the history of Poland. With its heroic history, it has earned the exceptionally honorable name of a city that has always been faithful to the homeland. SEMPER FIDELIS – always faithful. Marshal Józef Piłsudski sealed that title while decorating the city with the Order of Virtuti Militari in 1920. The past of Lviv, the always smoldering and uncompromising Polish revolutionist spirit, the climate, and the atmosphere that prevailed in it created the right conditions for making it the center of thought and independence movement in the early 20th century. In the early twentieth century, Polish independence organizations of various political orientations were established, from the ranks of which came legions of prominent Polish politicians and military and social activists.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Huroufiyah

2018 ◽  
Author(s):  
Nada Shabout
Keyword(s):  
20Th Century ◽  
Arab World ◽  
Arabic Language ◽  
The Political ◽  
Artistic Identity ◽  
Cultural Changes ◽  
Modern Age ◽  
Arabic Script ◽  
19Th And 20Th Century ◽  
Islamic Civilization

The perception of the Arabic letter in art has gone through many changes from the Islamic civilization to the modern age. Following the political and socio-cultural changes of the 19th and 20th century, the Arabic script lost its sacredness. After decades of limited existence in traditional craft, the Arabic letter reappeared in modern Arab art around the middle of the 20th century on nationalistic bases. The Arabic language had acquired a high value during the age of colonialism as a symbol of national identity, a unifier; this value only grew stronger with time. The letter was also a signifier that aided twentieth-century Arab artists in their artistic identity crisis. A number of art groups—such as the Baghdad Group of Modern Art, formed in 1951—were established with their focus on a search for a local or national art style through ‘istilham al-turath,’ seeking inspiration from tradition. The Arabic letter became the means for connecting artists’ present with their past and allowing for the invention of tradition. Huroufiyah (Arabic for Letterism), a highly contested term initiated by a newspaper journalist, became a term popularly used to signify all experiments with the Arabic letter in the modern Arab art. Nevertheless, the term is surrounded by controversy in the contemporary Arab world and rejected by a number of scholars and artists. The term al-Madrassa al-Khattiya Fil-Fann (Calligraphic School of Art), has been alternatively proposed, expressing specifically a perceived continuation with Islamic calligraphy.

scholarly journals Transnational Practices and Emotional Belonging among Early 20th-Century Greek Migrants in the United States

Genealogy ◽  
2020 ◽  
Vol 4 (3) ◽  
pp. 90
Author(s):  
Margarita Dounia
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Lived Experience ◽  
20Th Century ◽  
The United States ◽  
Early 20Th Century ◽  
Transnational Families ◽  
Village Community ◽  
Greek Migrants ◽  
Private Collections

This article aims at studying transnational families dispersed among Greece and the United States in the first half of the twentieth century. It examines the ways in which transnationalism was a common way of being, acting and feeling strongly associated with the available “technologies” of those times, namely photographs, letters and private financial and judicial records. The focus is purposefully micro-historical, analyzing the private collections of two families in a small mountainous village community of the Greek south. Its purpose is to manifest the ways in which transnational families communicated, exchanged items, thoughts and emotions, fulfilled economic obligations and marital aspirations and, overall, created “proxy” transnational spaces. At the same time, shifting the focus to individuals, it aims at presenting the diversities of transnationalism as a lived experience, as unfolded in the personal records of migrants and their kin. Further, it explores transnationalism as a holistic, multi-faceted and all-encompassing ground, with its dynamics influencing not only migrants, but also their families and societies back in the homeland.

Russian Civil Law Tradition of the Early 20th Century and the Napoleonic Code

10.12737/7251 ◽  
2014 ◽  
Vol 3 (1) ◽  
pp. 0-0
Author(s):  
Сергей Липень ◽  
Syergyey Lipyen
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Social Relations ◽  
Civil Law ◽  
Russian Empire ◽  
100Th Anniversary ◽  
Social Value ◽  
Early 20Th Century ◽  
Common Problems ◽  
The Russian Empire

This article discusses common problems of civil law to which attention was drawn at the beginning of the twentieth century in connection with the 100th anniversary of the Napoleonic Code. In connection with the new codification of the civil law of the Russian Empire objective and subjective factors of codification activities, social value of the Civil Code, the adequacy of regulation of civil relations, as well as to further improvement of the content of civil law according to the requirements of lifetime and constantly developing social relations were considered.

scholarly journals Grain Problem in the 20th Century Siberia

2020 ◽  
pp. 20-30
Author(s):  
Vladimir Il'inyh
Keyword(s):  
Retrospective Analysis ◽  
20Th Century ◽  
Economic Incentives ◽  
Soviet Period ◽  
Early 20Th Century ◽  
Grain Production

The author offers a retrospective analysis of the stages and methods of solving the grain problem in the 20th century Siberia. The study focuses on the country's farming development. The grain problem in the region had its own features, yet was part of the national problem as well. Siberia was one of the leading granaries of the nation. The country leaders have continuo­usly tried to use the potential of the region to step up grain production. It is established that in early 20th century, there was no grain problem in Siberia. In the Soviet period, it turned into a permanent one. The periods of its exacerbation were the early 1920s, the late 1920 and early 1930s, early 1950s, early 1960s, early 1980s, and early 1990s. The problem used to be solved through radical farming reforms, economic incentives for farmers, new far­ming innovations, and the shift to non-economic or market-based mechanism of grain turnover. Despite some measures driving manufacture, the grain problem in the region and the country as a whole was not solved in the 20th century.

scholarly journals The Publishing Activities of Libraries in the Pre-revolutionary Russia in the late 19th - early 20th century (on the Materials of St. Petersburg Province)

2016 ◽  
Vol 1 (2) ◽  
pp. 217-222
Author(s):  
Stanislav V. Stepanov
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Main Product ◽  
Early 20Th Century ◽  
Early Twentieth Century ◽  
History Of

The article is devoted to the history of publishing activities of the libraries of St. Petersburg Province. There are analyzed the main product types of libraries, marked the libraries, performing publishing activities in the early twentieth century, and there is given characteristics of their publications.

scholarly journals Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar

2018 ◽  
Vol 1 (1) ◽  
pp. 1
Author(s):  
I Wayan Sudirana
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Analytical Study ◽  
Early 20Th Century ◽  
Abstract Concept ◽  
Balinese Gamelan ◽  
Different Types ◽  
The Future ◽  
Twentieth Century Music ◽  
Characteristic Style

ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer’s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer’s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.Keywords: improvisation, drumming, kendang, gong kebyar. ABSTRAKGong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali. Kata kunci: improvisasi, drum, kendang, gong kebyar.

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