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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]

Copyright of Turkic Studies Journal is the property of L.N. Gumilyov Eurasian National University 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.)

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]

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]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum 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 Didáctica Geográfica is the property of Grupo de Didactica de la Geografia 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 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.)

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.

Introduction: implants are the most popular means of restoring the breast mound after mastectomy; the most feared complication is implant infection accounting for 4.8% to 35.4% of cases. Various antibiotic regimens or other surgical revisions to treat implant infections have been reported, but their failure rates are unacceptable. Implant removal is subsequently the most common recourse for managing prosthesis infections. we report preliminary results of infected breast implant salvage using our Regina Elena Institute (REI) protocol., Methods: Since June 2021, a prospective single-centre study has been ongoing for patients burdened by implant infection or exposure. All qualifying participants underwent our REI protocol. They receive a temporary smooth implant and 1 week of implant's pocket irrigation with antibiotic solution along with systemic antibiotic and then a new permanent prosthesis positioning., Results: Ten of whom completed at least 6 months of follow-up and were eligible for this preliminary analysis. Overall, the REI protocol was applied to 13 breasts. No infections relapsed during the 6-month minimum follow-up intervals; and no early capsular contraction was evident, resulting in good cosmetic outcomes for every treated breast., Discussion: The smooth-surfaced implant's sizer helps maintain tissue expansion, preventing skin retraction; and the slightly smaller diameters used (compared with originals) facilitate antibiotic wash distribution. Combining a targeted systemic antibiotic and a topical agent is the best way to optimise infection resolution. This preliminary analysis has clear limitations. A larger population is warranted to increase the level of evidence. Longer follow-up is also advisable to monitor for delayed infection recurrence., Competing Interests: Disclosure The authors have stated that they have no conflicts of interest., (Copyright © 2023 Elsevier Inc. All rights reserved.)