Journal articles on the topic 'Columbia University. Department of Slavic Languages'

The Soviet Nationalities Collection at Columbia University is one of the largest and most varied collections of its kind in the nation. Established in the 1960s, it now numbers more than 15,000 volumes in forty-seven different languages from the Altaic, Transcaucasian, Uralic, Paleo-Siberian, and Indo-European language groups. It grows at a rate of about 500 books a year.The collection supports instruction and research in fields including language and literature, political science, economics, history, folklore, religion and philosophy, and the arts. Although not cataloged until recently, the collection has long been used by scholars from research centers at Columbia, such as the Harriman Institute for the Advanced Study of the Soviet Union, the Center for the Study of Central Asia, the Program on Soviet Nationality Problems, and the Department of Slavic Languages. Its reputation growing by word-of-mouth, the collection has also attracted visiting scholars and requests through interlibrary loan.

The Department of Slavic Languages at Duke University began actively considering the implementation of Russian CAI in 1983. It was decided tomodel the Russian materials after the German CALIS system. Unique software and hardware problems encountered in the creation of the Russian CAI system were solved as well as other problems. Full scale use of the Russian CALIS system is expected in the Fall of 1985.

Lomonosov Publishing House in cooperation with the Department of Slavic Languages and Literatures of the Stockholm University, the Royal Swedish Academy of Letters, History and Antiquities, the Department of Modern Languages of the Uppsala University and the St. Petersburg Institute of History of the Russian Academy of Sciences published in 2012 the unique facsimile edition in folio of “Palmquist’s Album” and the special edition of “Some Observations Concerning Russia, summarized by Erik Palmquist in 1674”, which includes the original text of Album in the Early Modern Swedish language and its translations into the Swedish, Russian and English languages, the manuscript description, the principles of reproduction and translation of Palmquist’s texts, the glossary in the Swedish, Russian and English languages as well as zoomed out edition of “Palmquist’s Album”.

The Second Language Studies (SLS) Program was established in 2005 with the express purpose of providing ‘a firm foundation in the field of Second Language Acquisition and its application to current second language research and teaching’ (http://sls.msu.edu). Under the leadership of Professor Susan Gass, the program has grown to include 12 core faculty members and 27 Ph.D. students. As an interdisciplinary program, linkages across the university exist with the Department of Linguistics and Germanic, Slavic, Asian, and African Languages; the Department of French, Classics, and Italian; the Department of Spanish and Portuguese; the Arabic Language Instruction Flagship; the M.A. TESOL Program; the Center for Language Education and Research; the English Language Center; the Center for the Support of Language Teaching; the Department of Psychology; and the College of Education.

Scholars who have assessed Roman Jakobson’s legacy have concentrated on his contributions to various scientific disciplines, while those who knew him, who had been his students or his colleagues, have written about his rhetorical virtuosity, his impact as a lecturer. The present article focuses on a little-studied aspect of his professional biography: the ways in which, during the period mid-1940s to mid-1950s, the émigré scholar carried out an ambitious project to develop Slavic studies (Slavistics, slavistika) as a discipline in the United States. Jakobson’s institution-building activities, conceptualized while he was teaching at Columbia University, were implemented following his move in 1949 to the new Slavic Department at Harvard University. A private group, the Committee for Advanced Slavic Cultural Studies, with which he was closely connected, played a significant role in supporting the Harvard program, and, more broadly, helping develop American Slavistics as a discipline.

The article traces the life, pedagogical and scientific way of the Soviet and Russian Slavicist S.B. Bernstein, the role of the outstanding scientist in the revival of Slavic studies in the USSR. The urgency of the topic is determined by the importance of assessing the state of Slavic studies in the Soviet period and the role of professor S.B. Bernstein in the formation of Slavic studies in the XX century. The object of the research is organizational, scientific, and pedagogical activities of S.B. Bernstein aimed at the revival and development of Soviet Slavic studies. The aim of the article is to show the role of organizational and scientific activities of the outstanding Soviet and Russian Slavicist professor S.B. Bernstein in the context of the history of Russian Slavic studies and its defining trends. The research uses systemic, historical and cultural approaches; comparative and historiographical methods. The article traces in a generalized form the historical path of national Slavic studies. The author outlines the state of Russian Slavic studies of the XIX century, the growth of scientific knowledge in different fields, based on a broad comparative-historical comprehension of the cultural text: in the study of the history of Slavic writing, Slavic folk poetry, Russian literary language of the initial stage, Russian paremiology, etc., characteristic for this stage. Based on the memoirs of S.B. Bernstein and scholars of the Institute of Slavic Studies of the Russian Academy of Sciences, the author shows the state of Slavic studies in the 20-ies-30-ies of the XX century, famous for the persecution of Slavic scholars. The focus of the article is on the 40-ies and the following years of the XX century, during which the revival of Slavic studies with the active participation of S.B. Bernstein took place. The review presents his role in the process of reviving the Slavic Department of Lomonosov Moscow State University, in organizing the Department of Slavic Philology of Lomonosov Moscow State University, the Institute of Slavic Studies, and in the development of several scientific fields: Soviet Bulgarian studies, Cyrillic-Methodology, Slavic dialectology and linguogeography, comparative grammar of Slavic languages, ethnolinguistics and Slavic antiquities, etc.

To the 30th anniversary of Institute of Slavic Philology, СUL The essay offers an attempt to summarise the thirty years of Ukrainian studies within the Institute of Slavic Philology of the John Paul II Catholic University of Lublin. The beginnings of Slavic studies at the Catholic University of Lublin are related to the activities of the Interfaculty Department of Research on Byzantine-Slavic Culture, founded in 1981 thanks to the efforts of professor Ryszard Łużny, a philologist-Slavicist from the Jagiellonian University. The main purpose of this unit was to initiate research on ‘Ruthenian’ culture, derived from the Byzantine-Slavic root. The idea implemented by professor Łużny was innovative not only due to its profi led research program but also due to the curriculum, which offered students a wide range of knowledge on Eastern Slavs. From the very beginning of the unit’s functioning, its didactic structure was based on the three philologies: Belarusian, Russian and Ukrainian, and the academics pursued their research interests within the departments of Byzantine-Slavic Culture, Slavic Languages, and Slavic Literatures. Ukrainian studies at the Catholic University of Lublin have been shaped throughout this time by many eminent fi gures who determined the character of the unit by pointing out research directions to the next generations of linguists and historians of Ukrainian literature. These are professor Stefan Kozak, professor Stefaniia Andrusiv (literary studies), professor Michał Łesiуw, professor Dmytro Buchko, and professor Oleh Tyshchenko (linguistics). The essay discusses research and educational activities of the Institute of Slavic Philology. A series of regular research conferences, nationwide and international, focused on the issues of the Eastern Slavs, were organized during these thirty years. The author points out the most important academic publications and periodicals. Another direction of the Institute’s activity consisted in projects popularizing knowledge about the Polish-Ukrainian borderland, Ukrainian culture and language, with a special focus on the language spoken by the inhabitants of the Lublin region.

The association's most significant news is its change in name from PAPC to PAMLA to strengthen its identification with the Modem Language Association and to maintain the historic presence of classical languages. The association's ninety-third annual meeting will be held 3-5 November 1995 at the University of California, Santa Barbara, hosted by the College of Letters and Science with its Division of the Humanities, and cosponsored by the Interdisciplinary Humanities Center, the Department of Classics, the Comparative Literature Program, the Department of English, the Department of Germanic, Semitic, and Slavic Studies, and the Department of Spanish and Portuguese. Gerhart Hoffmeister, professor of German, is serving as chair of the local committee.

The article presents an analysis of the status of the Ukrainian language studies at the University of Bucharest from a diachronic and synchronic perspective. The Romanian-Ukrainian relations (political, administrative or economic), were founded and developed on the basis and in the context of cultural relations. For more than three decades, in Romania, international scientific events have been organized by the academic institutions in the partnership with governmental and local ones in order to maintain the Romanian-Ukrainian relations. Education has always been a basic component of people’s culture, regardless of the social world order or the level of education: primary school, secondary school, high school or university, the latter being the topic of our paper. Apart from the University of Bucharest, which has a rich tradition, in Romania, the undergraduate studies of the Ukrainian language and literature together with modern language and literature study (the Romanian language and literature) are currently provided by the “Stefan cel Mare” University of Suceava, within the Department of the Romanian Language and Literature of the Faculty of Letters and Communication Sciences, as well as by the “Babeș-Bolyai” University of Cluj-Napoca, within the Department of Slavic Languages and Literatures of the Faculty of Letters. Ukrainian studies at the university level in Romania have emerged since the very foundation of the Romanian philology in the 19th century, more precisely since forming the Slavic studies as a scientific discipline. Bogdan Petriceicu Hasdeu, one of the greatest personalities in the Romanian culture, (linguist, folklorist and philologist) played a big role in this sense, studying the way Romanian history had been reflected in the Ukrainian folklore. The Ukrainian folklore and the works of Taras Shevchenko were studied by the translator Grigore N. Lazu and the literary critic Constantin Dobrogeanu-Gherea. P. P. Panaitescu, Șt. Ciobanu, Zamfir Arbore and other researchers also wrote about the Romanian-Ukrainian literary relations. In the institutional framework, i.e. in primary schools, secondary schools, high schools and universities, the Ukrainian language and literature had been taught since 1948, after the Education Reform. The Department of Ukrainian Language and Literature of the University of Bucharest was established within the Department of Slavic Languages of the Faculty of Philology in 1952. Since founding of the Department by Professor Constantin Drapaca, such specialists as Nicolae Pavliuc, Magdalena Laszlo-Kuțiuk, Stelian Gruia, Dan Horia Mazilu, Ioan Rebușapcă, Micola Corsiuc, Roman Petrașuc, Maria Hoșciuc and Aliona Bivolaru made their contribution into promoting and increasing the prestige of the Ukrainian studies in Romania, as well as to strengthening relations between Romania and Ukraine.

Исследование призвано комплексно оценить вклад в лингвистику и методику преподавания русского языка, который внес научно-педагогический коллектив кафедры русского языкознания Национального университета Узбекистана (САГУ, ТашГУ, НУУз) за 80 лет ее истории (с 1942 г.). Источниками при этом явились данные архива НУУз, документы Кабинета славяноведения при кафедре русского языкознания, записи бесед с сотрудниками и выпускниками филологического факультета, сведения о биографиях ученых и педагогов – уроженцев различных регионов России, посвятивших себя делу сохранения русского языка в инокультурной среде. Дана оценка наиболее значимых достижений сотрудников, способствовавших развитию ведущих отраслей языкознания второй половины XX в., созданию известных в 1970–80-х гг. научных школ. Сделан вывод о перспективности выработанных на кафедре академических традиций применительно к новым задачам и современным условиям научной, образовательной, просветительской деятельности в Республике Узбекистан. The study is designed to comprehensively assess the contribution the scientific and pedagogical staff of the Department of Russian Linguistics of the National University of Uzbekistan made to linguistics and methods of teaching the Russian language durning the 80 years of the history of the department (since 1942). The sources for the study were data from the archive of the National University, documents from the Office of Slavic Studies at the Department of Russian Linguistics, records of conversations with employees and graduates of the Faculty of Philology, information about the biographies of scholars and professors. The research was carried out on the basis of historical descriptive, cultural comparative, sociological, and biographical methods. The authors comprehensively analyze the research work of the department during eight decades, the most important information about the life and professional path of the department’s staff (G.I. Kolyada, E.Sh. Miroshnik, V.A. Nizinskaya, D.D. Ilyin, L.L. Kim, A.N. Tikhonov, and others). Many of the staff members were natives of various regions of Russia and devoted themselves to the preservation of the Russian language, the development of the Russian-speaking scholarly space, which still serves as a fruitful intercultural cooperation between Uzbekistan and Russia and all countries where the positions of the Russian language are traditionally strong. The authors emphasize that it was the Department of Russian Linguistics that initiated the establishment of strong and long-term scientific ties with higher educational institutions in Russia, and the foundations of this interaction were formed back in the Soviet period. The authors characterize scholars’ participation in the formation of the leading directions of the 20th-century linguistics (historical Russian studies, synchronic linguistics, Slavic studies, comparative linguistics); note the attention the staff of the department pay to the study and teaching of modern Slavic languages; assess the most significant achievements, including the original theories that contributed to the creation of scientific schools, well-known in the 1970s–1980s; analyze various forms of research and teaching activities of the staff of the department at the current stage of its history. The authors of the article conclude that the academic traditions developed at the department are promising in relation to new tasks and modern conditions of scientific and educational activities in the Republic of Uzbekistan.

В статье дается краткий обзор истории развития русистики на Тайване, демонстрируется роль, которую сыграл Государственный университет Чжэнчжи в этом процессе. С момента основания университет Чжэнчжи служил мостом между Китаем и Россией. В настоящее время университет Чжэнчжи – один из важнейших центров по изучению России в китайском мире. В этой статье мы рассматриваем развитие китайско-, а затем тайваньско-российских отношений и перспективы этих отношений в будущем через призму развития русистики в Китайской Республике (Тайвань), в частности, через историю становления факультета славистики университета Чжэнчжи. The article gives a brief overview of the history of Russian studies in Taiwan, and demonstrates the role played by National Chengchi University (NCCU) in the process. NCCU has served as a bridge between China and Russia since its establishment in 1927 in Nanjing. Nowadays, NCCU is one of the most important centers for the study of Russia in the Chinese-speaking world. In this article, we consider the development of China-Russia and then Taiwan-Russia relations and prospects of these relations through the prism of the development of Russian studies in the Republic of China (Taiwan), and, in particular, through the history of the Department of Slavic Languages and Literatures of NCCU.

This article aims to outline the main stages in the development of Bulgarian studies at the University of Belgrade, as well as to describe its current state, without claiming to be exhaustive. The first stage of the development of the specialty could rather be considered a preparatory stage in the development of Bulgarian studies as we know it today. The second stage is marked by the scientific work of Marin Mladenov and the development of mainly literary Bulgarian studies. In the third stage, the emphasis is placed on the linguistic Bulgarian studies by Mariana Aleksic, as the teaching staff expands. Today, the Faculty of Philology at the University of Belgrade is the only place in Serbia where Bulgarian studies exist as a separate specialty within the Department of Serbian with South Slavic Languages. The Bulgarian language is also studied as an elective discipline (twosemester and four-semester), and almost all Bulgarian disciplines can be studied as electives by students from other specialties. It could be said that Belgrade Bulgarian studies today strive to soon achieve the much-needed balance in the presence of specialists in the field of literature and language.

Report of the conference Polyslav XVII (Kiev, 11–14 September 2013)The paper is a conference report. Young Slavists meet each other every year at the Polyslav conference. The previous meeting took place in Kiev and was organized by the Institute of Philology of the Taras Shevchenko National University in Kiev (Department of the Modern Ukrainian Language). Young linguists from 11 countries presented 68 reports associated with Slavic languages. The reports were related to almost all areas of linguistics. Sprawozdanie z konferencji Polyslav XVII (Kijów 11–14 września 2013 roku)Tekst jest sprawozdaniem z konferencji. Młodzi slawiści co roku spotykają się na konferencji Polyslav. Ostatnia z nich została zorganizowana przez Instytut Filologii Państwowego Uniwersytetu Kijowskiego im. Tarasa Szewczenki (Katedra Współczesnego Języka Ukraińskiego) w Kijowie. Młodzi slawiści z 11 krajów zaprezentowali 68 referatów opisujących języki słowiańskie. Referaty dotyczyły prawie wszystkich dziedzin językoznawstwa.

<div class="buynow"><a title="Back issue of Monthly Review, March 2016 (Volume 67, Number 10)" href="http://monthlyreview.org/product/mr-067-10-2016-03/">buy this issue</a></div>Ellen Meiksins Wood, who died on January 14, was coeditor of <em>Monthly Review</em> with Harry Magdoff and Paul M. Sweezy from 1997 to 2000, and a major contributor to historical materialist thought in the late twentieth and early twenty-first century. Her parents were socialist refugees, members of the Jewish Labor Bund who came to the United States in 1941, after fleeing Latvia in the 1930s, when indigenous fascists came to power. Her mother worked for the Jewish Labor Committee in New York and her father for the United Nations. Ellen obtained her B.A. in Slavic languages at the University of California at Berkeley and went on to do graduate studies in political science at Berkeley, where she met and married Neal Wood, a professor in the department. From the late 1960s to the late 1990s, she taught political theory in the political science department at York University in Toronto.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-10" title="Vol. 67, No. 10: March 2016" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

The article reveals previously unknown facts about the sinologist Sergei Alexandrovich Polevoy (1886—1971), who became famous due to his scientific, pedagogical and social activities in China. Being a native of dynasty that gave the world talented literary critics, writers and journalists, Polevoy from his youth was passionate about literature and collecting books alongside learning about China. His first academic work, prepared as a graduation paper at the Oriental Institute (Vladivostok), was devoted to periodicals in China; and his unique library composed of literature in many languages originated from the books on Oriental studies and linguistics. Living in China since 1917, Polevoy was a professor at Nankai University in Tianjin (since 1918) and then Peking University (since 1921), where he taught Chinese students the Russian language and literature. Using the introduction to Russian culture and literature as a new method of teaching, he brought up some famous Chinese writers and translators. His bookstore, opened in Beijing and having contacts with the International Book Company in Moscow, became a cultural bridge between Russia and China. Using the bookstore, Polevoy supplied Chinese students with textbooks and Russian classical literature, replenished the department of Slavic literature at the Beijing National Library, distributed Marxist literature and helped Chinese communist leaders establish contacts with the USSR. The authors also report the facts on the biography of Polevoyʼs son, Leonid, thanks to whom the Oriental Institute of the Far Eastern Federal University (Vladivostok) received the manuscript of S. Polevoy’s English-Chinese dictionary and his other materials on oriental studies. Leonid also presented his father’s book collection to Irkutsk, and these books served as the basis of the Humanitarian Centre — Library named after the Polevoys’ family. The article is based on materials from the Polevoys’ family archives and other private collections abroad.

Nobel Prize winner Czesław Miłosz is one of the most influential poets, prosiest, philosophers, and diplomats, his works spanning two centuries and multiple continents. Born in 1911, in what is now modern-day Lithuania, Miłosz spent most of his professional life in Europe including Poland and France. In 1960, fleeing the power of the communist regime, he found political asylum in California, teaching in the Slavic languages department at the University of California Berkley. The following paper examines Czesław Miłosz’s perspective on the radical West culture of the 1960s and ‘70s in his book Visions from San Francisco Bay. This work brings attention to previously unnoticed English mistranslations. I propose a new translation to reflect Miłosz’s original meaning, which changes the way English readers interpret his American experience as well as his book Visions from San Francisco Bay. Specifically, I consider two sets of Miłosz’s pros and cons which he crafted to describe the essence of his American experience, and one set of pros and cons I crafted from his writing to frame his experience. These juxtaposing pros and cons ultimately led him to the conclusion of the importance of richly interpreting one’s reality, especially in a time of change and uncertainty. By way of comparative literary analysis of Miłosz’s Visions and selected poems, we change the way we traditionally think of the ‘60s and ‘70s, realizing that instead of being a time of explosive interpretive energy, this was a time when Americans fell away from rich interpretation of their metaphysical realities.

Jane Gary Harris – Professor emerita, Department of Slavic Languages, Literatures and Cultures, and MSW in Gerontology, University of Pittsburgh, USA. Email: jgharris@pitt.edu enced significant challenges and changes. This paper explores the rationale behind those challenges and the agency behind the changes. In doing so it raises several questions: it asks what role NGOs, and more specifically, Gerontological NGOs, played in advocating for and bringing about change, where and how they may or should be credited with helping to re-imagine a modern aging policy for the Russian Federation, and what implications this may have for aging policy priorities in the present and imminent future? It proposes that the incipient Gerontological NGO sector was instrumental in re-imagining a modern social care system for older persons – the basis for a modern comprehensive aging policy: by, among other things, utilizing the internet in the social sphere to advocate for the principles and recommendations of the United Nations model Madrid Plan; by advocating for the rights of the elderly; by calling for integrated social and medical care; and by linking gerontological research and aging policy. An inquiry into the nature of the influence of these NGOs on aging policy priorities required a micro-level examination of the particularly influential Gerontological NGO Dobroe Delo, suggesting its seminal role in unifying an inchoate Gerontological NGO sector, while simultaneously transforming the basic paradigm of aging policy to focus on the 'Rights of the Elderly.' In addition, this paper proposes that such research is critical to understanding how Russia’s aging policy has been re-imagined over the past decade and a half while asking what policy issues yet remain to confront future demographic demands.

Knud Rasmussen (1930–1985) was a famous Danish historian, Professor at Institute of Slavic Studies at University of Copenhagen, specialist in medieval Russia, author of a dozen of scientific monographs published in large editions including in Russian. In 1973, he defended his thesis titled “The Livonian crisis of 1554–1561”. According to the list of works published by J. Lind, 13 publications are devoted to the epoch of Ivan the Terrible. This article, published for the first time, is presented in the form of a report at the conference in Hungary. The scientist consistently outlined the main tasks and problems related to the study of Russian history abroad, in particular, in Denmark. He told what plan was built for the team of Danish historians who decided in the early 1970s to prepare a textbook on Russian history in the form of a problem historiographic course for Danish students, and how this plan was implemented. The study of works on Russian history and their systematization helped the team of Danish historians, which included K. Rasmussen, develop a special historiographic method and its principles, which led to developing understanding of the problematic historical field as a whole and placing individual research in it. As a result, a multivolume manual was written; by the time of K. Rasmussen’s speech, 3 volumes were published, covering the period of Russian history from the 17th to the 20th century inclusive. K. Rasmussen worked on preparing a volume on the Russian history of the 16th century. In the second part of his speech (article), the author shared his thoughts on the chosen approach to the assessment of historiography and spoke about the content of this volume, where he outlined the controversial problem of enslaving peasants, discussions on the reasons for backwardness of Russian cities as the basis of Moscow defeats in Livonia, possible ways of Russian revival, on the state and its institutions and on the development of historical events in the field of domestic policy. This volume was published after the death of the author in the same year: Rasmussen Knud. Ruslands historie i det 16. Arhundrede: En forsknings-og kildeoversigt. Kobenhavn, 1985. 161 s. Bibliography about K. Rasmussen: Lind J. Creative Way Knud Rasmussen (on the 10th anniversary of his death) // Archeographic Yearbook for 1995. – Moscow : Nauka, 1995. – P. 160–165; Lind J. H. Knud Rasmussen in memoriam // Jacob Ulfeld. Travel to Russia. – M. : Languages of Slavic culture, 2002. – Р. 17–25; Vozgrin V. E. Knud Rasmussen and Zans Bagger – Danish historians of Russia // Proceedings of the Department of the History of New and Newest Times of St. Petersburg State University. – 2016. – № 16 (2). – Р. 205–219. The abstract is prepared by Candidate of Sciences (History), Associate Professor N.V. Rybalko.

Pyotr Danilovich Draganov (February 1 (13), 1857 – February 7, 1928), a native of Bessarabia, Russian philologist, historian, ethnographer, bibliographer, and teacher. Born into a family of Bulgarian colonists in the village Comrat of Bessarabian region, he graduated from the Bulgarian Central School in Comrat (1875), then studied at the Chișinău progymnasium, the provincial gymnasium (1875–1877) and the Kharkov gymnasium (1877–1880). After graduating from the gymnasium, he entered the Faculty of History and Philology of the Imperial Kharkov University (1880–1882), then continued his studies at the Imperial St. Petersburg University, graduating in 1885 with a candidate’s degree. In 1885–1887, he taught general history and Church Slavonic language at the St. Cyril and Methodius Male Gymnasium (Thessaloniki, Macedonia). In 1888, he was appointed teacher of the Russian language and literature of the Comrat real school. Since 1893, he taught Russian at the Chișinău Women’s Gymnasium. In 1896, he became a junior assistant librarian at the Imperial Public Library in St. Petersburg, in charge of the category of Slavs and Galician-Russian books of the Manuscript Department of the library. Due to the difficult financial situation, he had to resign from the library and return to teach Russian at the Comrat real school. In 1906–1912, P.D. Draganov worked as an inspector of a real school in Astrakhan, director of a teacher’s seminary in the village Rovnoe of the Samara province. In 1913, he returned to Bessarabia and was appointed director of the male gymnasium in Cahul. When Bessarabia was occupied by Romania, the Romanian authorities issued a decree on the preservation of the gymnasium and proposed to P.D. Draganov to remain its director. However, he decided to return to his native Comrat, where he taught Bulgarian at the Comrat real school until retirement. P.D. Draganov is the author of over 100 historical, literary, ethnographic, philological, bibliographic and critical works. His articles were published in the “Journal of the Ministry of Public Education”, “Historical Bulletin”, “Izvestia of the Imperial Academy of Sciences in the Department of Russian Language and Literature”, “Russian Philological Bulletin” and others. Some of his works have remained unpublished. Most of P.D. Draganov’s studies focus on Bessarabian and Balkan themes. He wrote many works about A.S. Pushkin. Draganov was the founder of Macedonian studies in Russia. One ofhis most important works is “The Macedonian-Slavic Collection” (Issue 1. St. Petersburg, 1894), which received many reviews. Another well-known work of his is the compilation “A.S. Pushkin in Fifty Languages, i.e. Translations from A.S. Pushkin into 50 languages and dialects of the world. A Bibliographic Wreath on the Monument to A.S. Pushkin, Woven for the Centenary of His Birth, May 26, 1799 – May 26, 1899 with a Portrait of the Poet” (St. Petersburg, 1899). Draganov also participated in the compilation of the Bulgarian-Russian Dictionary, published the first universal index Bessarabiana, where he listed the sources and literature published over 100 years since the annexation of Bessarabia to Russia. Among the numerous works by P.D. Draganov, there are studies about Rusins.

Emil Baleczky (his pseudonyms: E. Latorchanin, O. Vyshchak, and his cryptonym: E. A.) is one of the most prominent personalities in the history of Ukrainian studies in Hungary in the twentieth century. His main scientific interests include Transcarpathian dialectology and historical lexicology of the Ukrainian language. The second stage of the scientist's professional carrier is connected with the University of Budapest, where in 1951, Emil Baleczky was appointed head of the Department of the Russian Language at the Institute of Foreign Languages, and at the same time assistant professor of the Russian Institute at the University. Among the scientific interests of Emil Baleczky was the investigation of lexical units commonly used in Transcarpathia, first of all, in terms of their etymology. Among the achievements of the researcher, special attention must be paid to Emil Baleczky's attempt to determine the origin of some borrowed words, including those originally Slavic, which are common in the Carpathian Ukrainian dialects. Emil Baleczky performed a deep etymological and lingual-geographical analysis of the word урик, урюк, орек in the Ukrainian language, that of the word дюг widespread in Precarpathian Ukrainian, Polish, and Slovakian dialects, and also that of the noun kert in Transcarpathian Ukrainian dialects. The author devoted a separate paper to the study of the origin of dialecticisms like фотляк, csulka ~ csurka, бôшн’ак, булґар’, валах, ґириґ, тôўт, and циганин, investigated the etymology of the terms of national dishes widespread in Carpathian Ukrainian dialects, in particular of the token бáник. He considered the role of the Old Church Slavonic language in the history of the Carpathian Ukrainian dialects. According to his contemporaries, it is known that Emil Baleczky did not maintain official connections with the Soviet Transcarpathians but was surprisingly well-informed about the scientific processes in his native land. He analyzed the works contained in the two editions of the Dialectological Collection of Uzhgorod State University. In addition to examining the issues raised, Baleczky complemented, specified, and sometimes criticized the achievements of his colleagues, which indicates his deep knowledge of Transcarpathian Ukrainian dialectology. Thus, we can state that Emil Baleczky's works testify the high professionalism of the author, his profound knowledge in the field of synchronic and diachronic dialectology. The love of Transcarpathian dialects inspired the researcher to study them thoroughly as well as to present the research results to the general public of Slavists. The main area of Emil Baleczky's scientific interest until the end of his life was Ukrainian linguistics, particularly Transcarpathian Ukrainian dialectology. The aim of this paper is to present the Emil Baleczky's achievements in the field of Transcarpathian Ukrainian dialectology, focusing on the period from 1957 to 1979.

In the conditions of the Russian occupation, when Ukraine is fighting for independence, the commemoration of the centennial anniversary of one of the “titans” of Ukrainian ethnomusicology, Volodymyr Hoshovsky (1922–1996), acquires special national significance. The article reviews the spheres of activity of the scientist throughout his life starting from his childhood. The diverse upbringing and education of the European level formed V. Hoshovsky’s interest in the exact sciences and humanities, as well as in art, even in his childhood. This diversity of interests allows you to respond to changing life circumstances and master a new profession. After receiving a doctorate in philology and ethnography at the Charles University in Prague (1944), V. Hoshovsky prepared to become a scientist and became a polyglot. His main linguistic studies fell on the Prague period: work at the Institute of Slavic Studies, teaching at the Modern Languages Club, brilliant proposals and scientific prospects for the future. Ethnographic studies took place in Uzhhorod in 1946–1948. V. Hoshovsky headed the ethnographic department of the Uzhhorod Historical and Ethnographic Museum, began an in-depth survey of the folk culture and lifestyle of the villages of the Transcarpathian region, and organized a number of large exhibitions. The strengthening of ideological pressure and the closing of the ethnographic department led to the search for a new field of activity and realization as a professional musician. V. Hoshovsky obtained a second higher education – this time – in music. He graduated from the Lviv State Conservatory named after M.V. Lysenko (1953), as in Prague, having chosen two specialties. As a result, he became the first professional guitarist and the first professional conductor of an orchestra of folk instruments in Transcarpathia. A passion for musical aesthetics and musicology was added to the performances. His musical activity was very intense. Since 1955, V. Hoshovsky entered the field of ethnomusicology, which turned into his life’s work. His research on folk music evolved, delineating three periods. In the early period (Uzhhorod, 1955–1961), the scientist focused on regional studies: he carried out numerous field surveys of Transcarpathian villages, began the study of the history of musical folklore of Transcarpathia, studied the kolomyika in the context of Slavic studies, and engaged in the discovery of the musical dialects of Transcarpathia. In the mature period (Lviv, Yerevan, 1962–1986) V. Hoshovsky significantly expanded the range of scientific interests, reached the level of Carpathian studies, Slavic studies and cybernetic ethnomusicology, completed studies in the field of musical dialectology, significantly updated the research methodology by involving the methods of linguistics, semiotics, genetics, cybernetics, etc. The main his works were the anthology “Ukrainian Songs of Transcarpathia” (1968), the monograph “On the Origins of Folk Music of the Slavs” (1971), the two-volume collection of Klyment Kvitka’s works “K.V. Kvitka. Selected Works” (1971, 1973), development of UNSACAT (on the basis of Lviv analytical maps, and in cooperation with Armenian programmers), computer research of Ukrainian, Slovak, Armenian and Azerbaijani folk music. In the later period (Lviv, Uzhhorod, 1986–1996) he focused on the coverage of certain ethnomusicological issues and memories. The review made it possible to come to the conclusion that the realization of V. Hoshovsky in the field of linguistics and ethnography laid an interest in scientific work. The switch to the musical sphere made it possible to wait out the ideological pressure. Fascination with ethnomusicology marked a return to the bosom of science, but at a new level: with the unification of all previously acquired knowledge and experience. The breadth of scientific interests, familiarity with modern methods of research in various fields of science, the possibility of studying the latest European specialized literature in the original language distinguished this scientist among contemporary ethnomusicologists and provided space for bold experiments. As for pedagogical and social work, they formed a supporting line to the philological, musical, and ethnomusicological spheres of V. Hoshovsky’s activities. On the one hand, they stimulated public interest in certain issues, and on the other hand, they contributed to the education of followers who formed the musical, performing and ethnomusicological future of Ukraine.

The presentation describes the Library Online Tour and Self-Paced Education (LOTSE) project for Slavic Studies (LOTSE-Slavistik) at Bochum University Library, Germany. LOTSE Slavic Studies is an open access online tutorial that provides German-speaking students and researchers an introduction to the most important resources in Slavic languages, literatures and cultures. The tutorial was developed at Ruhr University Bochum by the University Library in cooperation with the Slavic Department / Lotman Institute. It constitutes one module within a group of LOTSE modules (Business and Economics, Education, Engineering, Ethnology, Geography, History, Medicine, Music, Netherlands Studies, Philosophy, Psychology, Spanish Studies, Sociology, Theology). All LOTSE modules are embedded in larger subject portals, which are themselves under the umbrella of the online German national clearinghouse of subject portals, Vascoda. The pedagogically-designed LOTSE module Slavic Studies is intended primarily for students and can be used as a stand-alone e-learning tool or as an element of an integrated Slavic information literacy course. The presentation sets the broader historical and institutional context for the project, describes the content and layout of the LOTSE tutorial and summarizes how it has been used in recent undergraduate courses on Slavic information literacy.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.