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The article analyzes the organizational and legal prerequisites and the process of reorganization of the administrative and territorial system and the formation of local self-government on the territory of Subcarpathian Rus (Transcarpathia) during the first half of the 20s of the 20th century. It was established that the system of administrative and territorial organization of the region was formed gradually, undergoing minor changes at the initial stage. At this stage, the Czechoslovak Socialist Republic in the former Hungarian lands (Piedkarpattia) not only adopted the existing Hungarian administrative system to a certain extent, but also partially adapted it to its needs. It has been analyzed that instead of Czechoslovak committees under Law No. 126/1920, the old Hungarian committee administration, modified by Law No. 210/1920 and Government Decree No. 476/1920, remained in force in Subcarpathian Rus. It was established that after the recognition of the invalidity of the Committee Law No. 126/1920 and the unsuccessful attempt to introduce Government Decree No. 352/1920 in Subcarpathian Rus, the government of the Czech Republic began to be interested in the centralization of power in the region. It is noted that the resolution of the Presidium of the Ministry of Internal Affairs of Czechoslovakia No. 22093 dated August 26, 1921 approved a new administrative-territorial system with a division into three counties and 19 districts. The cities of Uzhhorod and Mukachevo were declared settlements with a regulated magistrate. It is proven that the limitation of local self-government was based on government decree No. 171/1923, the principle norm of which was the appointment of new district notaries, who became civil servants supervising self-government. Corresponding conclusions were made regarding the support by the state authorities of the Czechoslovak Republic of the principle of vertical subordination of self-government bodies, especially city ones, which even illusory did not correspond to the principles of the autonomous organization of the region stipulated by the Saint-Germain Peace Treaty [ABSTRACT FROM AUTHOR]

Through exposure to the sun's ultraviolet B (UVB) radiation, the skin produces more than ninety percent of the body's vitamin D3 needs. The primary objective of this study was to estimate and compare the mean concentration of vitamin D3 (IU) produced by daily exposure to UV light during the summer and winter seasons. A cross-sectional study was conducted during the summer of 2022 and the winter of 2023, with male participants recruited exclusively. All participants resided in the Agadir region (30.428° N). A total of 324 men were included in the summer study and 345 in the winter study, with ages ranging from 18 to 100 years. Data were collected through a face-to-face interview questionnaire. The objective was to assess sun exposure variables in order to estimate the amount of vitamin D3 produced by sunlight. The findings revealed that during the summer, vitamin D synthesis was below the recommended value of 600 IU/day in 0% of participants, between 600 and 1200 IU/day in 44.44% of participants, and ≥ 1200 IU/day in 55.55% of participants. During the winter period, 13.33% of participants exhibited a mean vitamin D synthesis below the recommended value of < 600 IU/day. In contrast, 74.20% exhibited a synthesis between 600 and 1200 IU/day, while 12.46% exhibited a synthesis of ≥ 1200 IU/day. For all groups of Moroccan men, daily vitamin D production by UV solar exposure appears to be sufficient to meet the daily vitamin D requirement in summer but not in winter. The primary predictors of mean daily vitamin D production by UV solar exposure are the fraction of the body exposed, age, and season. [ABSTRACT FROM AUTHOR]

Статья посвящена теоретическому осмыслению международного выставочного проекта «Кулу — серебряная долина Рерихов», реализованного в Государственном художественном музее Алтайского края в 2024 году. Изложена продолжительная творческая предыстория, закономерным итогом которой стали произведения искусства, вошедшие в тематико-экспозиционный план рассматриваемой выставки. Раскрыты концептуальные основы реализованного проекта, предпринята попытка обоснования понятия «евразийский концепт» применительно к художественным процессам и построению экспозиции. Проанализированы ключевые работы выставки, дана характеристика их экспозиционной классификации и принципа организации, интерпретирован язык визуальных образов экспонатов. В исследовании использованы иконографический и сравнительно-культурологический методы, при изучении экспозиции — метод непосредственного наблюдения; в методологическую базу работы вошли как основные элементы теории музееведения, так и методологические основы других научных дисциплин — культурологии, философии.

This article proposes the development of a 'constructed prevention' approach as an alternative to the dominant safety models used in the agricultural environment. It is based on the theoretical frameworks of safety in psychology and ergonomics (industrial safety, patient safety and resilience), and in particular regulated and managed safety, in order to identify the conditions for the development of constructed prevention. We attempted to test this model of prevention by analysing pesticide exposure situations based on three agricultural case studies. These cases relate to prospects for contributions to the design of vineyard sprayers (Albert, 2022), to the real protection resources during sowing as part of a project in collaboration with the MSA (Fredj, 2021), and to the limits imposed on the use of pesticide containers in France and Quebec (Goutille, 2022; Jolly, 2022). It emerges that constructed prevention involves the development of individual and collective practices aimed at preserving health. The process is based on participatory methods for analysing and then transforming and designing the activity, which require action to be taken on determinants close to and distant from the work situation. The challenge of this approach is that of strengthening the development of prevention based on an understanding and on a construction founded on human work. We then propose the items to be taken into account in the diagnosis and development of activity-based prevention. This work is a contribution to the development of an operating model of safety. [ABSTRACT FROM AUTHOR]

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Introduction. The museum provides society with the opportunity for special interaction with space and time for the purposes of acquiring knowledge and the most complete assimilation of codes existing in culture and society. Theoretical analysis. Society’s perception of space and time in the museum will be examined and analyzed from the perspective of myth, which makes it possible to identify archetypal ideas of humanity that developed in ancient times and have largely not lost their infl uence on modern culture and society. The methods of institutionalizing the activities of society, which originated in the past, passed from one era to another in a transformed form, while retaining some characteristic features and at the same time acquiring new ones that became necessary for existence in a diff erent sociocultural context. One of these characteristic features is the idea that space and time in a museum have profane and sacred dimensions. Conclusion. Space and time in the museum are a mirror not only of mythical motifs, but also of the dominant developments of the modern world. These fundamental principles concentrate all the most signifi cant features inherent in human communities for the purpose of their further transmission to society.

Copyright of Environnement, Risques & Santé is the property of John Libbey Eurotext Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An overview of the dynamics of the quantitative composition of the Main Botanical Garden's (MBG) living collections from the time it was formed to the present day is given. The distribution of taxa by expositions and collection sites, their systematic affiliation, peculiarities of the formation of collections in different periods of the existence of MBG, and features of ontogeny in different groups of taxons are discussed. The combined living collection fund of the MBG includes 3225 taxa of higher plants in 150 families, 667 genera, 1853 species, 343 forms, and 1076 plant varieties representing domestic and worldwide flora from different regions of the globe. The most represented families are Asteraceae, Lamiaceae, Rosaceae, and Fabaceae however, most families (78) are represented by only 1-2 species. The genera Allium and Crataegus (by 43 species each), Iris (36), Pinus (23), Acer (21), and Betula (20) are distinguished by the number of species. By varietal diversity the most representatives are Rosa - 175 varieties, Syringa vulgaris - 126 varieties, Hemerocallis hybrida - 102 varieties, irises (82 varieties), Narcissus hybrida (72 varieties). The varietal collections Tulipa hybrida (41 varieties) and Hosta hybrida (38) are also representative. The vital state of most plants is quite satisfactory; under our conditions, about half of the collection plants pass the full ontogenetic development cycle and produce completely viable seeds. Another 30% of the collection plants are highly active in flowering but breed only vegetative. [ABSTRACT FROM AUTHOR]

Often located in places difficult to access - caves, rock shelters, and deserts - prehistoric paintings and engravings were first generally known to the wider public in the 1930s through reproductions presented in publications and exhibitions in major European and American cities. The German anthropologist Leo Frobenius (1873-1938) played a decisive role in this diffusion by creating the world's largest collection of prehistoric art facsimiles: about 5,000 so-called "original" copies faithfully reproducing the size, shapes, and colors of the paintings. The copies were made throughout the world primarily by professionally trained young women artists who accompanied Frobenius on his expeditions. These watercolors brought these rarely seen and distant images into the larger world. In numerous exhibitions, rock art - converted into two dimensions, in rectangular form, and hangable on a wall - was presented to the public like recognized masterpieces. This article explores the history of the collection and today's exhibition concepts. [ABSTRACT FROM AUTHOR]

From May 7 to October 9, 1892, an international exhibition was held in Vienna, the aim of which was to present the evolution of theater and music, from their origins and through each country. Focusing on the musical aspect of the event, this article examines the contradiction between the organizers' initial idea and the final result. Analysis centers on the historical context that necessitated the setting up of a new event and its consequences for the event's organization. This observation will then lead us to a study of the methodology used and the resulting hierarchy, even though the initial project aimed to avoid competition and conflict. With a focus on the ethnographic aspect of the Rotonde and the place given to the operetta, we will finally question the valuations and exclusions brought to light by the exhibition and ask if the event generated the "symphony of cultures" initially hoped for. [ABSTRACT FROM AUTHOR]

This article describes the state of museum education in Ukrainian museums after the Russian armed invasion. The research was based on interviews with museum workers from five cities in Ukraine. Museums represent different regions of Ukraine and museums of different directions. The author analyzes what changes have taken place in educational work during the last two years. [ABSTRACT FROM AUTHOR]

Often located in places difficult to access – caves, rock shelters, and deserts – prehistoric paintings and engravings were first generally known to the wider public in the 1930s through reproductions presented in publications and exhibitions in major European and American cities. The German anthropologist Leo Frobenius (1873–1938) played a decisive role in this diffusion by creating the world’s largest collection of prehistoric art facsimiles: about 5,000 so-called “original” copies faithfully reproducing the size, shapes, and colors of the paintings. The copies were made throughout the world primarily by professionally trained young women artists who accompanied Frobenius on his expeditions. These watercolors brought these rarely seen and distant images into the larger world. In numerous exhibitions, rock art – converted into two dimensions, in rectangular form, and hangable on a wall – was presented to the public like recognized masterpieces. This article explores the history of the collection and today’s exhibition concepts.

From May 7 to October 9, 1892, an international exhibition was held in Vienna, the aim of which was to present the evolution of theater and music, from their origins and through each country. Focusing on the musical aspect of the event, this article examines the contradiction between the organizers’ initial idea and the final result. Analysis centers on the historical context that necessitated the setting up of a new event and its consequences for the event’s organization. This observation leads to a study of the methodology used and the resulting hierarchy, even though the initial project aimed to avoid competition and conflict. With a focus on the ethnographic aspect of the Rotonde and the place given to the operetta, we will finally question the valuations and exclusions brought to light by the exhibition and ask if the event generated the “symphony of cultures” initially hoped for.

Copyright of German International Journal of Modern Science / Deutsche Internationale Zeitschrift für Zeitgenössische Wissenschaft is the property of Artmedia24 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article provides brief information about the North American exposition of the Tashkent Botanical Garden of Uzbekistan. The species of plants growing today in this exposition are given. [ABSTRACT FROM AUTHOR]

The conditions for the preservation of museum items, including organic archaeological materials, are dictated by a number of aspects of museum practice: the organization of protection and preservation in exhibition halls and museum depositories; the system of registration and storage of museum values; restoration and conservation; exposition and exhibition activities, often associated with the transportation of exhibits. Organic archaeological materials make up almost a quarter of the archaeological collection of the National Museum of the Republic of Kazakhstan from the ancient times to the ethnographic present. The purpose of the article is to summarize the experience and museum practice of the National Museum of the Republic of Kazakhstan with organic archaeological materials: methodological approaches to preservation and methods of their exhibiting are considered.

This essay focuses on two important phenomena in the context of narrative "beginnings": the beginning of the action proper and the first full-fledged scene (FFS), namely, the first time-section in the text that the author finds to be of consequence enough to deserve full scenic treatment. The point of departure for my discussion is Meir Sternberg's claim that the FFS always signals the beginning of the action proper (and the end of the exposition) in the fabula. To refute this as an absolute claim, I examine several types of openings where the FFS either succeeds or precedes chronologically the beginning of the action proper. I thereby also try to demonstrate it is instructive to consider the FFS more generally as significant on aesthetic and rhetorical grounds within the narrative whole; it can perform various and possibly alternative functions to the one Sternberg attributes to it as necessary and constant. Moreover, regarding the question of establishing the beginning point of the action proper, I suggest as an alternative signpost another full-fledged scene—the first in what I call the "main linear sequence" of the work (the application of both criteria often leads to the same result, but not always). This alternative indicator is not without its limitations either, but these limitations are methodologically useful since they help us identify and explain cases where the demarcation between exposition and action proper is genuinely problematic (when it is difficult to identify a main linear sequence in the work). [ABSTRACT FROM AUTHOR]

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Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Environnement, Risques & Santé is the property of John Libbey Eurotext Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Environnement, Risques & Santé is the property of John Libbey Eurotext Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Husserl endeavoured to establish phenomenology as a 'rigorous science' and therefore linked its development to methodological considerations from the very beginning. Such considerations are often lacking in current debates on political phenomenology. This article aims to remedy this deficit. It argues that political phenomenology reinterprets Husserl's methodological principles of epoché and reduction and transforms them into what can be termed interrogation and exposition. In addition, a further, often overlooked, principle of Husserl's method is uncovered, which is referred to here as demonstration. It is through this triad of interrogation, exposition and demonstration that contemporary political phenomenology adapts and transforms the method of classical phenomenology. The topics of whiteness and race are employed to show how these principles can facilitate the analysis of political struggles. [ABSTRACT FROM AUTHOR]

Prayer holds a profound significance in a believer’s life, with Lord Jesus teaching specific teachings to his disciples on the subject. It serves as a communication tool bridging the connection between God and humanity, constituting a dialogue rather than solely a platform for pleas or requests. This research delved into the specific text of prayer, focusing on Matthew 6:9–13, commonly known as ‘The Lord’s Prayer’. While many Christians interpret it as a ‘prayer of supplication’, the study questioned whether it truly falls into that category and explored potential contradictions. Utilising a qualitative approach with a pure exegesis study, the author employed hermeneutics based on John D. Grassmick’s steps of exegesis analysis. The examination was centred on the Byzantine Greek Bible text in the Gospel of Matthew 6:14–15. The aim was to grasp the essence of the message within the studied texts, emphasising Lord Jesus’ teachings. Results highlighted the significance of understanding the Lord’s Prayer as taught by Jesus in Matthew 6:9–13. The author emphasised the importance for Christians in Indonesia to comprehend the meaning of this prayer. Contribution: This reconstruction of Matthew’s understanding of the Lord’s Prayer using the Byzantine text anticipated contributions to HTS Theological Studies. The Our Father’s Prayer, a blessing to churches and Christians for over 2000 years, was explored for its proper grammatical translation and the profound contents taught by Jesus. This study aimed to assist Christians in understanding and applying the prayer in their lives, aligning with the true faith and fostering spiritual growth as intended by Lord Jesus.

Снижение качества региональных выставок последних лет не раз отмечалось исследователями, занимающимися современным отечественным искусством, и самими художниками. С помощью эмпирического количественного метода автором проведен анализ ротации художников Дальнего Востока, принимавших участие в XII и XIII Региональных выставках «Дальний Восток», выявлены видовые предпочтения в искусстве мастеров разных территорий региона. Методы наблюдения, сравнения, анализа экспозиции, каталогов зональных/региональных экспозиций разных лет позволили сделать выводы о некоторых причинах организационного порядка, ведущих в конечном счете к снижению качества проведения выставок, являющихся на протяжении около шестидесяти лет основным критерием состояния изобразительного искусства в регионах страны.

This paper concerns the issue of researching one of Banksy's murals, which was created in the city of Borodyanka, Ukraine. This mural, like the artist's other works, carries a deeper message. This time it is a message related to the war in Ukraine. At the same time, the authors note that the mural is a work of art and an important 'witness' for the local community to the tragic events in Borodyanka. In the current situation, where as a result of the war, the building substance is destroyed to a greater or lesser extent, it is important to consider how to protect, preserve, and restore works of street art, especially works as valuable as the Banksy mural under analysis. [ABSTRACT FROM AUTHOR]

Due to their geographical condition and worldwide environmental protection policies, the Galapagos Islands must opt for implementing clean energy infrastructure considering natural hazard effects that can directly affect the resilience of community residents. Santa Cruz Island is part of this archipelago, with rich biodiversity in flora and unique fauna. This study proposes identifying earthquake and tsunami risk assessment components on the island, such as the infrastructure vulnerability of Puerto Ayora, the central city of Santa Cruz Island. The FEMA P-154 and FEMA P-646 methodologies are used to classify buildings for technically installing microgrids based on photovoltaic generation systems. For this purpose, maps and data from state entities are used in combination with catalogs from development and land use planning, Software for Geoprocesses and virtual tours, and cadastral information provided by the Decentralized Autonomous Government (GAD) of Santa Cruz to develop techniques that offer a risk index to identify buildings that could sustain seismic and tsunamic loads. The study exposes alarming results that would prevent the installation of photovoltaic generation systems on the buildings' roofs. Consequently, a more detailed field study is recommended to contrast the reported analysis to implement mitigation strategies accordingly. Finally, geoprocesseced maps are presented, in addition to general installing recommendations for the photovoltaic system's infrastructure. [ABSTRACT FROM AUTHOR]

The medicinal treatment of mental disorders during pregnancy and lactation requires special knowledge about possible effects of the psychopharmacotherapy on the intrauterine exposure of the embryo/fetus. Therefore, the first part of this 2‑part article focuses on the use of psychotropic drugs during pregnancy. In the second part, the use of psychotropic drugs during breastfeeding is addressed. Possible substance-specific risks as a consequence of the administration have to be assessed compared to the natural risk of pregnancy complications, birth complications and neonatal complications associated with the appropriate (untreated) mental disease. Pharmacokinetic changes during pregnancy require a special focus on the safety of drug treatment and treatment efficacy. Currently, neither the European Medicines Agency (EMA) nor the U. S. Food and Drug Administration (FDA) has approved any psychotropic drug for use during pregnancy or breastfeeding. A more detailed consideration of the risk profiles of all psychotropic drugs, prescribed off-label during this time, is important. Antidepressants, antipsychotics, and mood stabilizers are the main drugs used, despite their lack of approval. This first part of our 2‑part article provides an overview of the most frequently used substance groups during pregnancy and their special characteristics. Therapeutic drug monitoring (TDM) is presented as a clinical tool that can provide a supportive contribution to treatment safety and effectiveness during pregnancy and later also during breastfeeding, not only because of the changing pharmacokinetics. In this context, the measurement of concentrations of the active substance allows a better quantification of the intrauterine and postpartum exposure risk. Despite all clinical support possibilities, each therapeutic decision for the administration of a psychotropic drug remains an individual case decision. For those involved in the treatment, this means a careful balancing of the possible consequences of non-treatment and the possible sequelae of the use of psychopharmacotherapy. [ABSTRACT FROM AUTHOR]

The drug treatment of mental disorders during lactation requires special knowledge about the possible effects on the breastfed infant. The first part of this 2‑part article is devoted to the use of psychotropic drugs during pregnancy. This second part addresses the use of psychotropic drugs during breastfeeding. The uncertainty about whether maternal breastfeeding can be recommended during drug treatment is high and the clinical management of psychopharmacotherapy during breastfeeding is a major challenge. Due to sparse scientific evidence, the administration of psychotropic drugs must be evaluated individually; however, the risk of mental decompensation of the mother is a weighty factor that can have a very negative impact on the mother-child pair, in the worst case up to suicide or infanticide. Drug treatment during breastfeeding is always off-label and should therefore only be given after a careful risk assessment and comprehensive clarification. Every treatment decision is a case by case decision based on an assessment of the overall constellation. This includes the psychiatric history, the current complaints and a risk assessment for the infant, ideally with the involvement of a social support network in the environment. A multiprofessional support by psychiatrists, pediatricians, gynecologists and midwives should accompany drug treatment during breastfeeding under close monitoring. This second part of the 2‑part article provides an overview of the most frequently used drug classes during the breastfeeding period. Therapeutic drug monitoring (TDM) is a valuable tool for risk and exposure assessment during the breastfeeding period. [ABSTRACT FROM AUTHOR]

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The Pavilion of Hangul pixels at the Expo 2010 in Shanghai attested to South Korea's booming economy and rising popularity of its culture in the contemporary era. However, Korea's early experience with expositions demonstrates its struggle with nation branding and autonomy. To debrief this tumultuous path, this paper examines the visual culture of Korea in international and national-scaled expositions from 1893 to 1929, encompassing the end of dynastic history, the short life of the Korean Empire, and the colonial era. The role of designership and audience in presenting Korean culture is analyzed under autonomous and colonial contexts. This research would serve to enhance the understanding of Korean nationalism through various visual representations of Korea and its culture in early modernity.

The highlights of the 24th International Exposition Glass World held in Moscow are briefly cited. About 100 companies from 12 countries of the world participated. New manufacturing and quality-control technologies of glass products and the main structural components of glass furnaces and methods of their high-quality production are demonstrated at the exposition. Examples of the most successful enterprises in the glass industry are given. [ABSTRACT FROM AUTHOR]

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The article examines the main stages in the formation and development of the theory of the period: there is an analysis of the interpretation of this form in the works of A.B. Marx, G. Riemann, the Russian musicologists I. Sposodin, Yu. Tyulin, L. Mazel, V. Tsukerman and others. The dual nature of the period is characterized in connection with its simultaneous belonging to the syntactic and compositional levels of musical form. There are two approaches to understanding this structure – metro-tectonic and content-functional. It is concluded that the qualities of expositionality and completeness of the period are provided by its attraction to the periodicity of the structure, harmonic closure and functional balance of the constituent elements.

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Concrete basins according to ZTV‐ING Concrete retention basins within the German federal highways network are regulated in ZTV‐ING. Taking into account the current state of the art and the experiences of the road administration with regard to the construction and operation of such basins and pump houses, a new assignment of the exposure classes for these components should be appropriate. This article takes a differentiated view on the relevant environmental impacts of concrete basins and explains the background for possible modifications to be made in a new ZTV‐ING. For example, in case of a global categorization, many components would have to be formally assigned to the exposure class XF4, from which the mandatory use of air‐entrained concrete would then be directly derived. However, differentiated considerations, considering specific boundary conditions and many years of experience, also allow the use of concretes without air entraining agents. [ABSTRACT FROM AUTHOR]

In the article was revealed the problem of preserving cultural heritage with the help of school museum. The prerequisites for the creation of the school Museum of the History of the village of Pogorilivka (Ukraine), its museum space and expositions (“History of the village, rural house, everyday life and weaving”, “Room of ethnography”, “Svetlitsa (front room) of bread”) were considered. The village of Pogorilivka in Bukovina is one of the Ukrainian villages that have not lost their self-sufficiency and identity. The locality represents an ethnographic and folkloric valuable area, which led to the establishment of the School Museum of Village History. The main directions of the Museum’s activity were analyzed as an element of the social structure that allows to learn, teach, educate, affirming ethnic identity. Conclusions were drawn about the fundamental practices of museum pedagogy. The importance of representative ethnic cultural symbols was determined; the need for their search was emphasized, possible ways of their active implementation in educational programs and in the modern socio-cultural environment was indicated. One of the central representative ethnic symbols of Ukrainians was identified ritual bread, widely represented in the “Svetlitsa (front room) of bread” of the Museum of the History of the village of Pogorilivka.

La famille constitue la garantie première, avant toute convention et toute charte, des droits de l’enfant. Pour cette simple et bonne raison que cette unité sociale de base n’est régie ni par la discipline, ni par l’adhésion intellectuelle, ni par l’intérêt, mais avant tout par l’amour. L’amour indéfectible pour l’être en qui nous reconnaissons notre propre sang et notre propre chair, un être qui nous survivra en ce monde et d’une certaine manière nous confère l’immortalité . Mais quoi de plus délicat qu’un enfant exposé à des violences au sein de sa propre famille alors que cette dernière est non seulement le lieu privilégié de l’épanouissement affectif et personnel de chacun, particulièrement de l’enfant mais est aussi un lieu intime et privé. Et la question de la violence conjugale dérange car elle touche à l’intimité du foyer. Aussi, les enfants se trouvent malgré eux être témoins ou victimes des violences conjugales, ce qui crée en eux une situation de mise en danger permanente ; ils se sentent constamment en insécurité tant physique que morale et portent sur eux un lourd secret qu’ils ne devraient dévoiler à personne sous peine de sanctions sévères et de graves privations de la part de leurs parents. En effet, évoquer les violences dans ses diverses formes au sein du couple parental dont ils peuvent être victimes, peut mettre mal à l’aise et conduire au silence. Ils deviennent ainsi des victimes résignées. Tandis que l’impact desdites violences sur le développement tant physique que psychique de l’enfant est néfaste et dévastateur. Il est moins évident de prétendre éradiquer ce fléau incrusté dans nos pays depuis bien longtemps, mais il convient de s’investir dans les moyens mis à notre portée pour le réduire sensiblement.

The analyses at the core of this essay focus attention on the concepts of "Compearance" and "Exposition" in Jean-Luc Nancy's philosophical reflection. Starting from the analyses carried out by Sartre, Lévinas and Derrida, this paper aims to define and highlight one of the fundamental concepts in Nancy's philosophical work, which is touching. A " corpus of touch " that is a syncopated corpus, interrupted and mixed with other bodies; here the whole sense of compearance and exposition is at stake. [ABSTRACT FROM AUTHOR]

The article scrutinizes the materials and catalog entries from archeological congresses held in the Russian Empire during the latter half of the 19th century and the early 20th century, focusing on the organization and content of exhibitions presented during these events. These exhibitions were notably orchestrated according to two guiding principles: a territorial approach, which grouped items based on their geographical origins, and an ownership principle, which categorized items based on the nature of their ownership -- be it museums, scientific societies, private collectors, or individual researchers. A considerable portion of the exhibits comprised military antiquities, delineated into several categories including ancient weaponry and armory showcasing archeological discoveries such as arrowheads, spear tips, and remnants of swords dating back to the Copper, Bronze, and early Iron Ages; weapons and ammunition from diverse historical eras; faleristics, encompassing the study of tokens and medals; and written memorabilia, which offer glimpses into the respective periods they originate from. Despite the rich narrative potential of these military artifacts, many were presented with inadequate or altogether absent attribution, a factor that significantly hinders their systematic categorization in contemporary studies. The analysis particularly accentuates the pivotal role played by Ukrainian researchers and collectors, not just in facilitating the assembly of these exhibitions, but in enriching them with substantial collections of artifacts, especially those connected to the Zaporozhian Cossacks. It highlights the standout contributions at congresses hosted in Ukraine, where the most expansive collections of military antiquities were exhibited, offering a rich, albeit complex, tapestry of military history that commands further detailed exploration and study. [ABSTRACT FROM AUTHOR]

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Copyright of Psychotherapie im Alter is the property of Psychosozial-Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article studies the history of a small timber-harvesting colony that was created in the times of the GULAG labor camps, outlived the period of being a political colony, and was transformed into a museum, the Museum of the History of Political Repression Perm–36, in the 1990s. Based on the analysis of publications of the 1990s–2000s, an attempt was made to recreate the history of comprehension of the era of political repression using the example of a certain museum. From the active study of the topic in the early 1990s and establishment of a public museum with support from the Perm Oblast administration, Perm–36 moved on to undergo severe criticism from the local and federal press, deprivation of financing and administrative support and, finally, rather rough dismissal of the museum administration and appointment of top managers from the Ministry of Culture. The public museum had a powerful creative and scientific potential that allowed it to develop, implement new forms of work, and attract the international museum and human rights community, but, unfortunately, the State Memorial Museum of the History of Political Repression Perm–36 has become an ordinary regional museum in fact. In the first years of being a state museum (2015–16), the administration of Perm-36 tried to revise the directions of work of the public museum. This was expressed in its attempts to justify the authorities and the cruel laws of the time when the colony existed and to find some incriminating evidence against its political prisoners. New exhibitions of the museum (e.g. “Broken by windfalls”) highlighted the state’s need for the prisoners’ work, in particular in harvesting timber needed for the reconstruction of war-ravaged cities, the successes in mechanization of camp production, and so on. The public outcry forced the leadership of the museum to adjust its course. Now, according to the development concept adopted in 2019, the activities of the reserve museum are aimed at preserving the memory of victims of political repression in order to prevent such tragedies in the future. The state museum Perm–36 continues to open new exhibitions and expositions that tell the story of the colony through the stories of people from the GULAG camps, dissidents, and human rights activists. However, the activities of the state memorial museum, which is deprived of public initiative and creative potential of the first directors, cannot yet rise to the level of international recognition and significance that its predecessor, the public museum, used to have.

Almost all Quranic exegetes believe that verses 16-19 of Sura al-Qiyāma are digressions between other main verses. While exegetes and lexicologists take the word bayān to mean an exposition or interpretation of Quranic verses, a distinction should be drawn between exposition and interpretation of the Quran. In verse 19 of the sura, the term “lie with Us” suggests God’s commitment to the expository revelation of Quranic verses, which the Prophet taught his companions, as he taught the Quran itself. What distinguishes Imam ʿAlī’s Muṣḥaf (written copy of the Quran) from ʿUthmān’s Muṣḥaf is the addition of expository revelation alongside the Quranic verses. Since Imam ʿAlī’s Muṣḥaf were inherited by later Shiite Imams, their followers were not deprived of expository revelation.

The castle in Ciechanow is classified as a Gothic castle of the lowland type. The building, which is an example of defensive architecture, is located to the north of the historic urban layout of the Ciechanow centre. At present, the castle is covered by the following forms of protection: protection for the Natural and Landscape Complex "Łydynia River Valley”, provisions of the Local Spatial Development Plan and an entry in the Register of Historic Monuments. The authors of the paper analyse the legal regulations concerning the castle and their impact on the contemporary castle’s exposition in the landscape.