Academic literature on the topic 'Dacca Museum'

The historical and architectural heritage of St. Petersburg dacha (summer residence) as part of Russia’s cultural heritage was studied. The research methods included on-site inspections and architectural measurements, photo-fixation of studied objects, archive and museum search, historico-bibliographical search in the repositories of rare ancient books and cartographic divisions of scientific libraries. As a result, the phenomenon of "dacha recreation" was studied. Specific features of the St. Petersburg dacha environment were revealed. On the one hand, the dacha environment is associated with the traditions of spatial organisation of cities and rural settlements in Russia. On the other, the dacha environment is characterised by originality and the absence of a rigid hierarchy in its planning and composition, with the natural environment representing the major formative factor. The determined periodisation of dacha construction included the 1703–1830s, 1830s–early 1860s, 1860s–1890s and 1890s–1917 periods. Areas of active dacha construction were revealed. Thus, dacha construction in the St. Petersburg province was performed predominantly along highways, waterways, railroads and coastline of the Gulf of Finland. A typology of dacha settlements was proposed, including dacha suburbs, dacha villages, dacha resorts and dacha settlements. These types were differentiated in terms of size and population, title and organisation of living activities, type of foundation and administrative status, as well as principles of 3D-planning structure. Particular attention is paid to the unique historical and architectural value of dacha settlements of the St. Petersburg province and importance of its exploration and preservation. It is proposed to use the traditions of creating highly-artistic and optimally-organised dacha recreation environments during the design of contemporary suburban recreational spaces.

The paper, basing on the correspondence (partially unpublished) between V. G. Korolenco, his relatives and friends, is to present the reconstruction of history of the house which the writer planned to build as a summer dacha, in cooperation with some of his associates from Nizhny Novgorod, in Dzhankhot near Gelendzhic. According to Korolenco’s project the house was erected in Dzhankhot as a dacha, but the construction was supervised by his brother, I. G. Korolenco, who later converted the dacha, initially designed for temporary stay, into a place of his own constant dwelling, a country estate, where he, as a sole owner and master, lived until his death in 1915. From the 1950-s onwards the country estate was being gradually transformed into Korolenco`s museum, which was opened in 1964. The choice of Dzhankhot as a site for a summer house was motivated by Korolenco’s acquaintance with F. A. Tscherbina, the first “dachnik” in khutor Dzhankhot since 1870, who had also organized one of the first workers’ artels, as well as one of the first agricultural associations, and later became a renowned expert in the history of agricultural communities in Russia. Korolenco first visited Tscherbina in Dzhankhot on July 6–7 in 1898 when he came to the agricultural colony Krinitsa founded by V. V. Yeropkin in 1886. Thus, the idea of a “communal” dacha came to be a reflex of the agricultural communities created by narodniks, N. G. Tchernishevsky’s followers. Korolenco witnessed tragic mistakes made by the communes’ founders, at the same time thinking that his own idea was quite reasonable. The plan of the “communal” dacha, however, was not realized. Dzhankhot became a country estate of Illarion Korolenco, remaining one of Vladimir Korolenco`s summer dachas.

In the early work of V.V. Mayakovsky, the images of the estate and the dacha were usually interpreted in a humorous way, associated with the bygone noble life. However, it was in Kuokkala, Levashovo near Petrograd, that the poet wrote significant parts of the poems “Cloud in pants” and “Mystery Buff.” Dacha life in Pushkino near Moscow together with L.Yu. and O.M. Brik in the summer of 1920–1929 also contributed to his creativity. This place is mentioned in the title of “An extraordinary adventure...”, the events of this work unfold there. The plots of the poems “Attitude to the young Lady,” “In the Heine way,” “Dacha Case” etc. are associated with a summer pastime. Individual chapters of the poem “Good!” were first read at the dacha in the summer of 1927. The materials of the poet’s notebooks no. 8 (January–May 1921) and no. 15 (January–June 1922), provided by the V.V. Mayakovsky State Museum, form the basis of the research. The article examines the work on the poems of 1920 and the poem “The Fifth International,” which most vividly reflected the features of the poet’s village life. Fragments of notebook texts are published for the first time.

Around 200 inscriptions have been found at Potaissa so far. Some of them disappeared and their texts are known to us exclusively from publications, others are kept in museum collections. The subject of this study is their linguistic examination, by following the peculiarities and the deviations from the classical norms of the language. When possible, this data will be related to details on the donors, on the provenance of the epigraphs, on their type, and on other information that can contribute to shaping the cultural-linguistic profile of the Roman town.

"The setting up of the Geography Department and its Institute within the Faculty of Sciences at the Upper Dacia University of Cluj. On 16 August 1919, the University Board, the organ created for the organization and employment of teaching staff for the Upper Dacia University of Cluj after its transition to Romanian administration (12 May 1919), presented and proposed the organisational chart by departments, seminars, laboratories and institutes of the future Faculty of Sciences, by means of the Board rapporteurs, scientists Gheorghe Țițeica, Ludovic Mrazec and Alexandru Borza. At the express request of professor George Vâlsan, the tertiary geographical education was also included in this Faculty, as an independent department, the Department of Geography, consisting of two sections and an Institute of Geography. This was a new situation, different from the study of Geography at the universities in Iași and Bucharest. The organisational chart of Cluj University, made according to the ”German model”, was kept until the Stalinist reform of the Romanian education on 3 August 1948. By means of suggestive examples, the main Romanian university institutions newly-created at Cluj University are illustrated and described, some of them under the auspices of the Royal Foundations, such as the Astronomic Observatory and the Institute of Chemistry and Physics, as well as others, like the Sports Park, the new Botanical Garden with the Botanic Museum, the Palace of University Clinics, the Academic College and the Ethnographic Park and Museum. The materialization of George Vâlsan’s concept regarding the study of Geography and its relations to the other departments of Cluj University, as well as the their scientific and logical foundation within the double specialization, are extensively presented, as a proof of the scientist’s determination to lay solid grounds to the Romanian tertiary geographical education at Cluj University. Keywords: Upper Dacia University of Cluj, Geography Department, Faculty of Sciences. "

The aim of the work is to form conceptual solutions of the ecological and archaeological site "Donskaya Troya’. The unique archaeological site founded in the 17th century, BC by the tribes of the North Caucasian catacomb culture locates westward Rostov-on-Don, on the right bank of the Mertvy Donets River, between Karataevo and Liventsovka villages in the Soviet region. The stone fortresses discovered by archaeologists in the 1960s, are the oldest in Eastern Europe. The preservation of the Liventsovka archaeological ensemble is very relevant, since today it is in a deplorable state, namely excavations with bushes, dacha garbage dumps, dilapidated walls and ditches filled with stones. The media quite keenly discuss the sad fate of this territory. The paper proposes to create a museum to show the unique historical and cultural potential of the Karataevo and Liventsovka fortresses, which will be and open-air museum, a festival space with a research center and other educational and entertainment areas. Urban planning, scenario-functional and artistic-figurative concepts of the museum relate to the existing historical and cultural artifacts, the ideas of a "living ethnic landscape", the life of people from re-created times and modern trends in the design of museum complexes.

The silver objects discovered in 1821 in the Cioara village (currently Săliștea, Alba county, Romania) belong to the fi rst Dacian hoard ever conserved in modern times. Th e hoard is preserved nowadays in the Museum of Art History in Vienna (Kunsthistorisches Museum); it consists of two necklaces (Figs. 2/1-2), fi ve fi bulae (Figs. 1/1-4, 2/3), four bracelets (Figs. 3/2-5), six twisted links (Figs. 2/4-9), one loop-in-loop type chain (Fig. 3/1), fi ve pendants (Figs. 3/6-10), three spiral rings (Figs. 2/10-12), a gilded fragmentary plate with anthropomorphic representations (Figs. 4, 5), a funnel-shaped object (Fig. 6/1) and three perforated discs (Figs. 6/2-4). The dressing and adornment objects are typical products of the late Latène period of silversmith art in Dacia, dated in the second half of the 1st century BC. The present interpretation of the hoard’s inventory consists of three assumptions:

The scope of this scientific endeavour is the analysis of the Roman funeral monument, recently recovered by the judicial bodies from a certain individual from Alba Iulia. Upon the presentation of the method of recovery of the monument, the authors refer to an unfortunate implications’ phenomenon for the cultural heritage, which is occurring in Alba Iulia, where under lies the largest urban concentration within the former Roman province, namely Dacia. We are referring to the urban centre Apulum where, each year, numerous vestiges come to light, because of archaeological exploitations. Unfortunately, in numerous courtyards of the inhabitants, there still are Roman monuments which should belong into a museum. It would not be unproductive for the competent institutions to identify, inventory and take the required steps to bring and enter them into the museum related circuit. The idea is to prevent the trend of owning Roman monuments from Alba Iulia, which was also observed amid highly educated families. The topic is a funeral limestone document, kept in a fragmented state, in the shape of a truncated pyramid, which has a relief sculpture in the image of the hero Hercules. From the iconographic standpoint is part of the Farnese type, depicting the hero upon the completion of one of his twelve deeds, the killing of the lion from Nemeea. Within his cult also arose the funeral element, depicted by numerous sculptural monuments. According to the mythology, upon taming Cerberus, the famous dog of Hades, the lord of the Inferno, the hero becomes a role model for every mortal. By such” deed” Hercules defeated Death, and the deed turned out to be an example which perpetuated into the conscience of the people. Thereafter, after this special action he was entered among the deities. The iconographic analysis found that the stonemason failed to accurately represent part of the anatomical features of the character (lack of gender, bent legs, poor representation of the hair and beard), the monument remaining unfinished (the sculptural relief is not finished on the left side). Moreover, there are interventions after the Roman era, probably from the Middle Ages or the modern age, when a channelling was engraved around the head that would mark a halo of the Christian Saints, and within the pubic area a clumsy incision which could render a vulva. The images of Hercules on the Roman funerary monuments are numerous throughout the entire Empire, as well as into the North Danube Province. But on this type of sepulchral monument – pyramidal crowning or in the shape of a truncated pyramid – this representation of the hero is unique within the Province of Dacia. In general, such crowning is found in Dacia Superior and Porolissensis, originating into the North-East of Italy, better said, Aquileea city, wherefrom it spread in Pannonia, Noricum, Dalmatia, Moesia Superior and Germania Superior.

The article reconstructs the places of the summer vacancy of the academician-Slavist Evfimiy Fyodorovich Karskiy (1860—1931) during the entire time of his scientific and educational activity (since his graduation from the Nizhyn Historical and Philological Institute) on the basis of several groups of sources: reports (published and archival) on Karskiy's summer trips, his scientific publications, official documents (stored in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences, the Central State Historical Archive of St. Petersburg, the Polish State Archive), published minutes of the Council of the Imperial Warsaw University, correspondence of the scientist from the archives of St. Petersburg, Moscow and Prague, memoirs of members of the academician's family. The favorite places of repeated summer stay of the academician's family are: Grodnenskaya province (Migovo and Ponemun estates), Crimea and the village Luga in the Leningradskaya region. The first trip to the resort — to Alushta — was taken by E. F. Karskiy, as the rector of the Warsaw University, just before his retirement, at the age of 49. E. F. Karskiy's second trip to the Crimea took place in the summer of 1914. The study managed to identify one of the photographs from the family archive of A. A. Karskyj as image of a dacha of the late 19th — early 20th century, owned by the hydrogeologist I. M. Peddakas, whose appearance was unknown for Alushta historians and museum workers.

The article introduces clay figurines of eagles and terracotta of a Roman soldier, which were found during excavations at the Lower City of Olbia in the 1930—1940-ies, and are kept in the National Museum of the History of Ukraine. The iconography of the eagles is similar to the terracotta statuette of an eagle found in the praetorium building in the Upper City of Olbia. The series of rooms, in which the eagle figurines were found, belong to the Roman garrison structures, which were located in the port area of the city. Terracotta eagle figurines could be used in military sanctuaries, and imitate Roman military standards, or be associated with the worship of Jupiter. Analogies to these products are known from the Roman fortresses on the Danube and in Dacia province. The fragment of terracotta with a shield was a part of a Roman soldier figurine with hanging limbs. The warrior was depicted wearing a Roman military cloak (sagum). This indicates his higher rank, in contrast to the soldiers dressed in tunics. In his left hand he holds a shield (clipeus), which depicts a deity in armor, with rays above his head. The terracotta depicts warriors armed with gladius, and belted with a Roman military belt (cingulum militare). They depict the servicemen of the auxiliary troops of the Roman army — auxilia, or, given the non-standard shape of their shields, the sailors of the Moesian fleet (milites classiarii), whose units were stationed in Olbia, as is known from the epigraphic finds. The places of their finds mark the points of deployment of the Roman troops in the Northern Black Sea region. These terracottas could serve as votives in ritual rites associated with the cult of Mithras, which appears in Olbia as a result of the Roman garrison deployment in the city during the second half of the 2nd — first half of the 3rd c. AD.

O objetivo deste trabalho é mostrar como um país, colocado em um contexto histórico, está a evoluir e a sofrer mudanças sociopolíticas e culturais. Essa evolução é o exemplo perfeito de como o folclore pode ser a soma e o resultado de fatos históricos distantes e como uma nação se apresenta, do ponto de vista cultural, quando confrontada com fases de diferentes potências principais. Durante a história, especialmente dos tempos da antiga Dácia, a Moldávia foi confrontada com separações e dominações, dos seus vizinhos, e a cultura teve que sofrer de todos os pontos. Mudanças constantes de poderes principais conduziram à mudança da língua, do alfabeto, do território e do nome do país, e isso também favoreceu o desenvolvimento de uma nação mista, com raízes e cultura. Em tempos de cultura mista e nacionalidades, é muito importante, para uma nação, voltar aos seus primórdios, a fim de identificar, preservar e conservar sua identidade nacional e transmiti-la para as gerações vindouras. Na República da Moldávia, podemos ver a unidade entre a dança, a música e o traje, quando se trata de todos os tipos de danças folclóricas tradicionais da Moldávia. Estas práticas variam de uma região para outra, considerando o seu ritmo, propósito, estilo, nome, utilidade, etc., mas juntos formam a riqueza do folclore moldavo: as tradições, os costumes, as práticas nacionais. Tendo suas raízes na antiga Dácia, a música folclórica e as danças moldavas foram salvaguardadas e passaram por muitos períodos de transições políticas, sociais e econômicas, que não podiam deixar de deixar suas marcas e influências. Apesar de tudo, podemos ver que essas práticas foram salvas e transmitidas de uma geração para outra, mantendo o seu lugar honroso na vida cotidiana do camponês da Moldávia, embora uma grande parte deles tenha sido perdida durante a moldalização e a russificação da nação, e outra parte está atualmente em perigo. A herança da Moldávia é realmente ameaçada pelo esquecimento, a ignorância, especialmente provenientes das novas gerações, a imigração maciça do país e a crise econômica da Moldávia, que não permite que as pessoas desenvolvam as habilidades de uma política de transmissão e conservação; RÉSUMÉ GÉNÉRAL: Ce travail essayera de démontrer comment un pays, placé dans un contexte historique, évolue et subit des changements sociopolitiques et culturels. Cette évolution même est l’exemple parfait de la façon dont le folklore peut être la somme et le résultat des faits historiques lointains, et comment une nation se présente, du point de vue culturel, face aux phases des différentes puissances au pouvoir. Au cours de l’histoire, surtout des temps de l’ancienne Dacie, la Moldavie a été confrontée aux séparations et aux dominations de ses voisins, pendant lesquels la culture a souffert des changements majeurs. Les changements constants des pouvoirs ont conduit à la modification de la langue, de l’alphabet, du territoire et le nom du pays ; cela a aussi favorisé le développement d’une nation mixte, ayant des racines et une culture mélangée. Dans le temps où la culture et les nationalités sont composites et variées, il est très important, pour une nation, de descendre vers ses origines, afin d’identifier, préserver et conserver son identité nationale, et de le transmettre aux générations à venir. Dans la République de Moldova, on constate une unité entre la danse, la musique et le costume lorsqu’il s’agit de tous les types des danses traditionnelles populaires. Ces pratiques varient d’une région à une autre, compte tenu de leur rythme ; objectif ; style ; nom ; utilité etc., mais ensemble elles forment la richesse du folklore moldave ; les traditions ; les coutumes ; les usages nationaux. Ayant ses racines dans l’ancienne Dacie, les danses et la musique folklorique moldave, ont été sauvegardées et ont passés des nombreuses périodes de transition politiques, sociales et économiques, qui ont laissé leurs empreintes et influences. Malgré tout, nous pouvons constater que ces usages ont été conservés et transmis d’une génération à une autre, en gardant leur place honorable dans la vie quotidienne du paysan moldave. Bien qu’une grande partie de ces usages a été perdue lors de la moldavisation et russification du peuple, et une autre partie est actuellement en danger. Le patrimoine moldave est aujourd’hui menacé par l’oubli, l’ignorance, surtout de la part des jeunes générations ; l’immigration massive du pays ; la crise économique. Toutes ces circonstances ne permettent pas au peuple de développer une politique de transmission et de conservation du folklore; GENERAL ABSTRACT: This work’s aim is to show how a country, placed in an historical context, is evolving and suffers sociopolitical and cultural changes. This very evolution is the perfect example of how the folklore can be the sum and the result of distant historical facts, and how a nation presents itself, from the cultural point of view, when faced to phases of different lead powers. During the history, especially from the times of old Dacia, Moldova was faced to separations and dominations, from its neighbors, and the culture had to suffer from every point of it. Constant changes of leading powers have conducted to the change of the language, the alphabet, the territory and name of the country; this has also favorised the development of a mixt nation, with mixt roots and culture. In times of mixed culture and nationalities, it is very important, for a nation, to go back to its beginnings, in order to identify, preserve and conserve its national identity, and to transmit it for the generations to come. In the Republic of Moldova, we can see the unity between the dance, music and costume, when it comes to all the types of traditional Moldavian folk dances. These practices are varying from one region to another, considering their rhythm; purpose; style; name; utility etc., but together they form the richness of the Moldavian folklore: the traditions, customs, national practices. Having their roots in the ancient Dacia, the Moldavian folk music and dances have been safeguarded and passed through many periods of political, social and economic transitions, which could not help from leaving their marks and influences. Despite all, we can see that these practices have been saved and transmitted from one generation to another, keeping their honorable place in the quotidian life of the Moldavian peasant, although a big part of them have been lost during the moldavisation and russification of the nation, and another part is currently in danger. The Moldavian heritage is actually threatened by the oblivion, ignorance, especially coming from the young generations, the massive immigration from the country, and the economic crisis from Moldova, which is not allowing to the people to develop the skills of a transmission policy and conservation.