Academic literature on the topic 'Anniversaries, etc., 1985'

Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.

<p><strong><em>The purpose</em></strong><em> of the article is to comprehend the aspect of religious radio broadcasting in the structure of radio programs of Ukrainian emigration in the radio space of foreign countries in the twentieth century.</em></p><p><strong><em>The research methodology </em></strong><em>is based on the use of general scientific methods of archival research (digitized issues of the Ukrainian daily «Svoboda» in 1935–1991 available in free access), monitoring of identified mentions of the presence of Ukrainian-language programs in the radio space of different countries, clipping , the names of the program, its periodicity, the name of the radio station on which the broadcasts were available, the areas covered by it, characteristics, references to the source of information and its author, etc., historiographical, systematization, deductive and method of observation.</em></p><p><strong><em>Results.</em></strong><em> </em><em>As a result of the research, the orientation of Ukrainians to spiritual practices and religious themes in the radio space of foreign countries was stated. The founders of the programs for Ukrainian believers were representatives of various religious organizations in North and South America, Europe and even Australia. Based on the capabilities of the organizers, the programs were created on a regular basis, and broadcast on a permanent broadcast network, as well as non-periodic holidays and annual anniversaries. Priests and members of their families became the authors and hosts of such programs. The team of radio amateurs included a treasurer who was responsible for collecting and rationally using funds donated by the community and provided by the flock to support the presence of the Ukrainian word of God in the radio space. Some programs, such as Evangelical Morning, a project of Ukrainian Baptists in North America, were briefly spread to Soviet Ukraine, from where they received grateful feedback from underground listeners. The main religious holidays were timed to broadcast the Divine Liturgy, for the sick, those who do not have the opportunity to join the action in person</em></p><p><strong><em>Novelty.</em></strong><em> For the first time in the scientific discourse the achievements of the spiritual and religious segment of the radio programs of the Ukrainian emigration in the XX century are comprehended.</em></p><p><strong><em>The practical significance</em></strong><em> of the research results is the introduction of documented data on the state of development, achievements and thematic, genre diversity, musical diversity and polyphony of Ukrainian radio programs on the spiritual life of Ukrainians in different countries.</em></p><p><strong><em>Key words:</em></strong><em> Ukrainian-language radio program, Radio Service of God, radio broadcast, religious radio program, world Ukrainian radio.</em></p>

On March 11, 1954 Giulio Natta synthetized isotactic polypropylene. It was the first synthesis, in laboratory, of a polymer having a sterically ordered structure, similar to those found in some natural polymers like, for instance, natural rubber and cellulose. This meaningful aspect was emphasized by Prof. Fredga of the Swedish Academy in his speech at the customary ceremony of Nobel Prize on December 10, 1963, when he stated “Natta has broken the monopoly of nature”. With the polypropylene synthesis Natta discovered the “stereospecific polymerization” defined by Toblosky (Princeton University) and by Flory, one of the most eminent scientist in the macromolecular chemistry and future Nobel laureate in Chemistry (1974), a “revolution” in the macromolecular field. Natta was recognized as the “father” of stereospecific polymerization. The Journal of Polymer Science, vol. 51 (1961), dedicated to Natta, reports “Seldom a scientific contribution aroused such a deep and fundamental interest and was followed by such a rapid technical development as the series of publications by Professor Natta and his coworkers on the stereospecific polymerization. Yet Professor Natta has succeeded in maintaining undisputed leadership in this field of polymer chemistry and continues to surprise his colleagues with new and unexpected results”. The revolution brought by Natta in the field of macromolecular chemistry involved the entire scientific and industrial world specialized in that area. Soon after 1954-55 a lot of universities and industrial laboratories around the world started to work on activities concerning the novel stereospecific polymerization. The results of these studies are reported in about a thousand scientific publications and some hundreds of patents issued from the Milan Polytechnic Institute of Industrial Chemistry between 1955 and 1977 (concentrated in 1955-57). The importance of polypropylene from the commercial point of view is evident from the fact that the world production of various types of polypropylene now stands at about 60 million tons/year. It is estimated that the related global economic value approaches the second place over all synthetic products, after polyethylene, together with ammonia, and before other products such as urea, polymers of styrene and vinyl chloride, nylons, etc. For their part 1,4-cis polybutadiene and copolymers based on ethylene and propylene occupy respectively the second and the third place in terms of worldwide production and market value among synthetic elastomers, after styrene-butadiene rubbers (SBR). More information concerning the personality and the scientific and didactic activities of Giulio Natta and his relations with the scientific and industrial world are reported on the internet site www.giulionatta.it containing the “Giulio Natta Archive” (more than 40.000 pages).

Процесс оценки личности и деятельности известного русского поэта, критика, переводчика Валерия Брюсова (1873–1924) армянской литературно-научной мыслью имеет более чем вековую историю. Одним из первых в 1913 году дал оценку творчеству В. Брюсова Ваан Терьян. В армянской среде интерес к личности и творчеству В. Брюсова резко возрос, особенно после Геноцида армян, осуществленного Османской империей, во время подготовки и издания составленного и отредактированнoгo им сборника «Поэзия Армении», в 1915–1916 гг. В разных формах – статьи, стихотворения, приветственные речи, письма и т. д. – выступили многие видные деятели армянской литературы того времени: Ов. Оганесян, Ал. Ширванзаде, Ов. Туманян, В. Терьян, А. Чопанян, Н. Агбалян... В последующие десятилетия по юбилейным и другим поводам появлялись публикации, писались статьи и объемные исследования, читались научные доклады на конференциях (в частности, начиная с 1962 года, на мнoгих «Брюсовских чтениях»). В них была всесторонне рассмотрена и оценена деятельность В. Брюсова как поэта, критика, переводчика, сторонника сближения разных культур и литератур, а также многие принципиальные вопросы, связанные с подготовкой и изданием сборника «Поэзия Армении». Был внесен ряд корректировок, предложенных историками, литературоведами Ов. Ганаланяном, М. Нерсисяном, С. Дароняном, Е. Алексаняном, Л. Мкртчяном, К. Айвазяном, М. Амирханяном и другими. Этот процесс продолжается и сегодня, благодаря усилиям современных литературоведов Ан. Закаряна, А. Долуханян и других. The process of evaluation of the personality and activity of the famous Russian poet, critic, translator Valery Bryusov (1873-1924) by the Armenian literary and scientific mind has a history of more than a century. Vahan Teryan was one of the first to evaluate works of Valery Bryusov in 1913. In the Armenian environment, interest in the personality and works of Valery Bryusov rose sharply, especially after the Great Armenian Genocide carried out by the Ottoman Empire, during the preparation and publication of the collection “Poetry of Armenia” compiled and edited by Bryusov in 1915–1916. Many prominent figures of Armenian literature of the time: Hovh. Hovhannisyan, Al. Shirvanzadeh, H. Tumanyan, V. Teryan, A. Chopanyan, N. Aghbalyan, spoke out in the forms of articles, poems, welcome speeches, letters, etc. In the following decades, publications appeared on anniversaries and other occasions, articles and voluminous studies were written, scientific reports were given at conferences ( in particular, since 1962 at many “Bryusov readings”). These materials made it possible to comprehensively review and evaluate activities of V. Bryusov as a poet, critic, translator, supporter of the rapprochement of different cultures and literatures, as well as many fundamental issues related to the preparation and publication of the collection “Poetry of Armenia”. A number of adjustments were made, which were proposed by historians and literary scholars Hovh. Ghanalanyan, M. Nersisyan, S. Daronyan, Ye. Aleksanyan, L. Mkrtchyan, K. Ayvazyan, M. Amirkhanyan and others. This process continues even today, thanks to the efforts of modern literary scholars An. Zakaryan, A. Dolukhanyan and others.

This thesis examines Protestant unionist commemorations of the Battle of the Somme in Northern Ireland during a phase in which they exhibited marked popularity and politicization. Filling a gap in the scholarship and building upon it, this thesis pays closer attention to the historical context and development of these commemorations and takes into account a broader swath of forms and locations of commemoration. It argues that, in the face of the perceived threat of Irish unification posed by the Anglo-Irish Agreement in 1985, unionists employed the memory of the Somme as a political tool on two different but overlapping fronts. On one front, they used it against their collective opponents, who supported or supposedly supported Irish unification. On a second front, conflicting groups within the unionist community, namely unionist politicians, Orangemen, Protestant youths, and loyalist paramilitaries, interpreted the Somme differently to satisfy their partisan agendas. Analyzing Somme commemoration at the Belfast cenotaph, in parades, and in murals, this thesis provides explanations for why the Somme was remembered differently in various mediums and locales of commemoration, with particular attention to the differing degrees and manners in which Protestant commemorators recognized the Catholic contribution in the Somme campaign.
Department of History

Defence date: 3 June 2016
Examining Board: Professor Pavel Kolár, European University Institute (EUI Supervisor); Professor Lucy Riall, European University Institute; Professor Peter Haslinger, Herder Institute; Professor Nancy M. Wingfield, Northern Illinois University.
This thesis examines national days in Hungary and Czechoslovakia from their establishment as independent nation-states in 1918 to the collapse of Communism in 1989. The focus is on the capital cities of Budapest and Prague, as the locations of the official commemorations. In these eighty years both countries underwent major political, social and cultural changes that were reflected in national day commemorations. In the interwar period these countries were free to establish their own commemorative calendars and construct their own national historical narratives. Whilst in Hungary this was a rather straightforward process, in Czechoslovakia establishing the calendar was fought along a number of different battle lines. During the Second World War Czechoslovakia was occupied by Nazi Germany and dismantled, whilst Hungary became Hitler's reluctant satellite. National day calendars, rather than simply being completely cancelled, continued in some form from the previous period, as this allowed the Nazis to maintain a semblance of normality. The most significant overhaul of the national day calendar came with the Communist takeovers. The Communist parties imposed a new socialist culture that included a new set of Sovietthemed national days. However, they could not completely break away from the national days of the independent interwar states. Eventually, especially from the late 1960s, the Communists in both countries found that it was expedient to restore some of the interwar national days, some of which still continue today, thus questioning how radical a break 1989 was. Studying national days over the longue durée enables historians to uncover how the dynamics of political power operated in Central and Eastern Europe over the 20th century. This thesis concludes that national days are an example of both the invention of tradition as well as the resilience of tradition, demonstrating how political regimes are always bound by the broader cultural context.