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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.

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Copyright of Journal fuer Verbraucherschutz und Lebensmittelsicherheit is the property of Springer Nature 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 Bundesgesundheitsblatt - Gesundheitsforschung - Gesundheitsschutz is the property of Springer Nature 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 Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office 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 paper provides a qualitative investigation into the many ways in which exposition mediates exclusive knowledge about copyright to children in Key Stage 3 on the Bitesize and Newsround pages of the British Children's BBC online platform. The analysis compares objective exposition in the copyriGht article of OUP's A Dictionary of Law, primarily intended for inclusion and knowledge transfer to late youth and adults, with the Bitesize sister directories on Copyright and intellectual property, and a Newsround story about EU copyright law. Data suggests that the Bitesize pages address excellent readers using specialist terminology; they pursue brevity, precision, and conciseness. While still comprising expository passages for explanatory purposes, Newsround adopts interlocutive strategies and provides verbal and visual stimuli -- including clever language play within memes -- that are clearly intended to engage with users, arouse their curiosity, and promote identification with the represented participants and actions. [ABSTRACT FROM AUTHOR]

The aim of this study is two-fold; a) to examine the attendance of Turkey at the exhibitions, expositions and fairs held in the Balkans in order to develop commercial relations with the Balkan countries and to introduce the goods and products it produced, and b) to discuss the results achieved in this process. In this regard, Turkey's approach to exhibitions, expositions and fairs held in Thessaloniki, Belgrade and Plovdiv, the preparation processes, and the political and economic factors that enabled this attendance were discussed. Turkey's attendance at these economic organizations in the Balkans took place especially after the Balkan Conferences and the signing of the Balkan Pact. By attending these exhibitions, Turkey brought close political relations with the Balkan countries to the economic field. Thus, the Balkan Union was tried to be placed on an economic basis. The main sources of the study were the Republic Archive documents of Presidency State Archives and the periodical publications of the period. [ABSTRACT FROM AUTHOR]

Die Niedertemperatursterilisation mit verdampftem Wasserstoffperoxid (H2O2 ) wird in Krankenhäusern immer häufiger eingesetzt. H2O2 stellt allerdings ein Toxizitätsrisiko dar. Es gilt in Frankreich eine maximale Arbeitsplatzexposition (MAK) von 1 ppm pro 8 Stunden. Aktuell liegen nur wenige Daten zur routinemäßigen Exposition bei AEMP-Personal, Anwendern oder Patienten vor. Um das Expositionsrisiko für die genannten Personengruppen zu bewerten, wurden in dieser Studie die H2O2-Rückstände nach Niedertemperatursterilisation in den Sterilisatoren V-Pro 1+ und V-Pro maX (STERIS®) gemessen. [ABSTRACT FROM AUTHOR]

Copyright of Journal of History / Habaršy Tarihi Seriâsy is the property of Al-Farabi Kazakh 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.)

Engineering structures are known to withstand significant applied loads, in order to respect static requirements. With time, the environmental sustainability became an important aspect for construction systems. Therefore, the durability issues acquired an increased attention. Materials and systems are subjected to atmospheric degradation. Geographic location, orientation, degree of exposition, construction details, height and degrading agents such as, sun irradiation, wind, rainfall, and chemical agents influence the intensity of the deterioration. This latter mainly takes place in an asymmetric manner. Within short distance, the damage of a structure may significantly vary. The present work outline the asymmetry in the degradation of some main infrastructure such as buildings, tunnels, waste water plants, drinking water reservoirs, bridges, drinking water wells and artifacts exposed to stray currents. The asymmetry largely affects the deterioration process. In some cases, a relevant damage was observed after short time. Thus, a wise planning of infrastructure and materials may increase their general durability.

Cet article revient sur le processus collaboratif qui a présidé à la conception de l’exposition Kuru. L’art d’un monde en mutation tenue en 2019 au Jardin botanique de Neuchâtel (Suisse). Cette expérience, alliant des artistes san naro du Botswana, des anthropologues et des professionnel·le·s des musées, avait pour ambition de repenser l’approche muséale de l’art san contemporain et de développer d’autres modes d’exposition, plus inclusifs. Cet article documente les stratégies de représentation de Soi et de l’Autre mobilisées dans ce contexte et propose une réflexion sur les apports, les enjeux et les limites de cette collaboration à la croisée de l’art, de l’anthropologie et de la botanique. Il met en lumière les effets involontaires, les adaptations constantes et les asymétries persistantes à l’œuvre dans les échanges, et discute de l’intérêt de faire sens de ces dynamiques interactionnelles au sein même de l’espace muséal.

The main point of this article is to show the art of laparoscopic surgery, which can improve the patient’s outcome, decrease operation time and the number of complications.

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This article discusses the collaborative process that led to the conception of the exhibition Kuru. L'art d'un monde en mutation held in 2019 at the Botanical Garden of Neuchâtel, Switzerland. This project, which brought together San Naro artists from Botswana, anthropologists and museum professionals, aimed to rethink the museum's approach to contemporary San art and to develop more inclusive modes of exhibition. This article documents the strategies of representation of the Self and the Other mobilized in this context and proposes a reflection on the contributions, the stakes and the limits of this collaboration at the intersection of art, anthropology and botany. It highlights the unintended effects, constant adaptations, and persistent asymmetries at work in the exchanges, and discusses the value of making sense of these interactional dynamics within the museum space. [ABSTRACT FROM AUTHOR]

Since 2015, we have been regularly conducting studies with audiences in museums or art centers in the city of Montpellier (Carré Sainte Anne, Pavillon Populaire, Espace Dominique Bagouet, Espace Saint Ravy, Musée Fabre and Panacée-MO.CO). Supervised by the teaching team, they are led by students in the 3rd year of the Information-Communication Degree at the Paul Valéry Montpellier 3 University, enrolled in the "Audience Analysis" course, i.e. a staff of about 200. For the 2017-18 class, the study was carried out among the audiences of the Fabre Museum and the Panacée-MO.CO, from January to April. In agreement with the partners, the main question focused on the way in which the public appropriates these two places, respectively a museum of fine arts and a contemporary art center. We present here the survey protocol implemented to understand these fields and detail in particular the methodological articulation developed in response to the problem. In addition to the results provided to understand the appropriation of visitors to the different spaces of the places investigated, the study makes it possible to develop pedagogical modalities that aim to confront students with the realities of the field. [ABSTRACT FROM AUTHOR]

Scenography is a labour comprised of interrelationships between art and expert. It is based on space projection and news temporalities effort (production) and participate to a declaratory context (reception). Our ethnolinguistic approach describe and analyze practicals problems exposed by scenographers during professional moments and how they resolve them interactionally. In this article, we develop scenographic production and describe a particular activity : exposition space projection. For that, we explain a part of our scientific corpus (extract from Scenoscope project) that rest on Jewels exposition implementing in the city of Agde. We have collected observations and survey datas during several working sessions where principals actors of this cultural project were. Through this research field, we must define projection activity as a typical part of scenographic work. [ABSTRACT FROM AUTHOR]

The premise of this paper is that Adam Smith was first a teacher and second an economist and writer. Set this, it aims to show that one of the causes of the remarkable success of The Wealth of Nations was the didactic rhetoric that the author put into practice in communicating his thoughts. It focuses on the well-known example of the manufacture of pins, previously not studied from this perspective, because of its important function as a proem to the work, place in which it is a priority to adapt to the imagination of students, listeners and readers, capturing their sympathy so that they wish to continue learning, listening and reading. After identifying the previous formulations of the example by other authors, it analyses the different versions provided by Smith, identifying in them three relevant levels from the point of view of education: visual, emotional and historical. In addition, it gives relevance to the didactic context of Scotland of his time and to the interconnection of Smith's different cultural interests, especially his connections with rhetoric. Its conclusion is that Smith based his didactic rhetoric on perspicuity and sympathy, building a teaching discourse, first, and textual, later, that created an immersive visual environment in which students, listeners and readers felt intuitively protagonists inside the conceptual world exposed (that of the new economic science) and, with this, agents of their own formative process, which has an undeniable topicality. [ABSTRACT FROM AUTHOR]

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Copyright of Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Codex Aquilarensis is the property of Fundacion Santa Maria la Real del Patrimonio Historico 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 Logos: Anales del Seminario de Metafísica (1575-6866) is the property of Universidad Complutense de Madrid 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 Mélanges francophones is the property of Galati University Press 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 Revista Salud UIS is the property of Universidad Industrial de Santander 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.)

This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.

Hornbeam is a forest tree species widespread in our country’s plain and hill areas. Hornbeam forests can also be found in the West Plain and can be classified as smart forests. This concept, used during the last decade in worldwide silviculture, involves the existence of forests with an exceptional ecologic purpose. The present article intends to establish a set of clear and easy to identify and catalogue criteria that can be used to recognize smart hornbeam forests from the West Plain together with their characteristics. In order to achieve this, 14 site and stand characteristics were established, each with five evaluation classes. Smart hornbeam stands from the West Plain are distributed especially in Lunca Timisului, Oradea and Timisoara forest districts, at altitudes of 90-100 meters, on preluvisol and eutric cambisol. In addition, they are also present in forest plain station and in meadows, being characterised by relatively even-aged and relatively uneven-aged structures, ages between 60-70 years and by conservation forests and seed reservations production subunits.

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L'électrohypersensibilité (EHS) est un phénomène, apparu dans les années 1980, qui semble attribuer la survenue de certains symptômes à une exposition aux champs électromagnétiques (CEM). Depuis cette apparition, le nombre de cas n'a cessé d'augmenter, laissant imaginer une sorte de contagion. Cependant, le lien de corrélation entre exposition et apparition des symptômes a été testé à de nombreuses reprises et n'a jamais été confirmé. L'hypothèse qu'un effet psychogénique, l'effet nocebo, pouvait être à l'œuvre a alors pris corps, amenant avec elle une prise de conscience quant à notre exposition sans cesse croissante à des informations anxiogènes sur la présence des CEM. Ce contexte d'attentes négatives démultiplie l'action de l'effet nocebo, déjà contagieux en lui-même, mais n'explique pas, à lui seul, le cheminement d'une majorité des victimes chez qui la survenue des symptômes a précédé la connaissance d'un possible effet nocif des CEM. Différents travaux ont montré que dans ce dernier cas, il pourrait s'agir d'un phénomène de mauvaise attribution des symptômes. Les victimes, laissées sans réponse par la communauté médicale, vont se mettre en recherche d'une cause et seront confrontées à l'orientation du marché cognitif vers les CEM. Cette confrontation sera d'autant plus déséquilibrée que la victime ignore qu'elle est soumise à de nombreux biais cognitifs dans sa manière d'appréhender les informations qui lui sont proposées. Dès lors que l'attribution est constituée, l'effet nocebo pourra à nouveau entrer en jeu et venir consolider la sensation, pour la personne, d'être atteinte d'EHS. Quel que soit le cheminement, la victime entre dans un cercle vicieux duquel il apparaît très compliqué de s'extraire. Electro-hypersensitivity (EHS) is a phenomenon that emerged in the 1980s and which seems to attribute the occurrence of some symptoms to an exposure to electromagnetic fields (EMF). Since it has appeared, the number of cases has not stopped increasing, suggesting some kind of contagion. However, the correlation between exposure and the onset of symptoms has been tested repeatedly and has never been confirmed. The hypothesis that a psychogenic effect named the "nocebo effect" could be at work then took shape, bringing us to an awareness of our ever-increasing exposure to anxiety-inducing news about the presence of EMFs. This context of negative expectations reinforces the action of the nocebo effect (an effect which is inherently contagious) but does not, in itself, explain the path of a majority of victims in whom the onset of symptoms preceded knowledge of a possible harmful effect of EMFs. Different studies have shown that in the latter case, it could be a phenomenon of wrong attribution of symptoms. The victims, left unanswered by the medical community, will seek a cause and will be confronted with the orientation of the cognitive market towards EMF. This confrontation will be all the more unbalanced as the victim is unaware that it is subject to many cognitive biases in its way of understanding the information offered to it. Once the attribution is established, the nocebo effect can again come into play and strengthen the feeling of being a victim of EHS. Whatever the path, the victim enters a vicious circle from which it appears very complicated to escape. [ABSTRACT FROM AUTHOR]

Suhrawari’s syllogistic is based upon the three reductions: (1) the reduction of the negative propositions to positive ones by obversion, (2) the reduction of the particular propositions to universal ones by exposition, and (3) the reduction of the contingent and impossible propositions to necessary ones by definite necessity. Thus, the four moods of the first figure may be reduced to one mood, the four moods of the second figure may be reduced to another one, and the six moods of the third figure may be reduced to a third mood. From these three moods, the first is self-evident in its validity. But Suhrawardi proves the validity of the other two moods by two illuminationistic rules. I will show in this article that Suhrawardi is indebted to Avicenna in all these respects. Obversion is borrowed from Avicenna’s al-Mukhtasar al-Awsat; exposition is an Aristotelian method that Avicenna applies in all of his logical works; the definite necessity and one of the two illuminationistic rules are adopted from his al-Shifa’: Kitab al-Qiyas; and the other illuminationistic rule is extracted from his al-Najat. So Ziai and Walbridge’s opinion that Suhrawardi’s Syllogistic is a sharp divergence from Avicenna’s Syllogistic will be wrong.

Within the Carpathians, the Southern Carpathians are located in the South part and contains the largest number of peaks situated at over 2500 meters altitude. Aspen (Populus tremula L.) is a pioneer species with a rapid growth, usually found in the temperate and boreal areas from Eurasia. In our country, the species is present in hill and mountain areas, up to 1600 m in altitude and in mixture forests. The purpose of this article is to analyze aspen strands from the Southern Carpathians from the point of view of site and growth conditions. In order to achieve this, we have used data from forest management plans realized during 1982 - 2006 for 35 forest districts located in this area. The stand and site characteristics that were analyzed were the following: location, pruning, current growth, production class, structure, slope, exposition, altitude and forest type. The surface occupied by aspen stands in the Southern Carpathians is of 2302 ha, with the majority located in the southeast part. Aspen stands from this area are characterized by a mixt or intimate mixture, low pruning, current growth of 0.4-0.8 m3/year/ha, medium and inferior production classes, and an even-aged, relatively even-aged and relatively uneven-aged structure. They vegetate on fields with a high or very high slope, at average altitudes between 700 and 1100 m, in mountain common beech stands or fir, Norway spruce and common beech mixtures.

The Southern Carpathians are situated in the central part of Romania, between Prahova Valley and the Danube, being the highest and most massive mountains from the Romanian Carpahtians. The relief and vegetation are similar to the Alps. These mountains conserve the most representative glaciar relief from Romania, with cuaternar glaciar tracks. Some of its peaks, namely Moldoveanu, Negoiu, Parângul Mare and Peleaga exceed 2500 m. From its total 217.889 ha occupied by forests with water protection functions, the forests located on lake slopes occupy 9.746 ha, namely 5%. The forests from this area are composed of spruce (Picea abies L.H. Karst) and beech (Fagus sylvatica L.), accompanied by other species such as birch (Alnus glutinosa, L., Gaertn.) and pine (Pinus sp.). From the point of view of the field's orography, these forests are located on lands with an middle inclination on all exposition categories, but predominantly on the North-East, one at an average altitude of 1050 m. From the point of view of site conditions, the characteristic flora type is Asperula-Dentaria, while the main soils are dystric cambisol and eutric cambisol.

The article examines display methods of Christian art in museums and showrooms. The history of exposition of religious art dates back about 150 years. Throughout museum existence the social role of religious art and museum was understood differently because the demonstration purposes, problems and methods were very different. Recently museum researchers define a museum as an ideological institute where ideology is the process of producing meanings and fixing them as norms. Display methods are described as the methods of creating meanings. When the museum displays certain objects, it shows not only the translation of the dominant knowledge, but also the principles of perception of reality. The analysis of the variety of museum interpretations of the Christian art throughout the entire time of its exhibition allows distinguishing three main approaches: Christian art as an illustration of ideas and concepts, as an artistic work and as a sacred object. Each of them has its own conceptualization, history of application and use in modern practice. The purpose of this article is to study the already developed techniques, sometimes slightly modified, which are used in museum expositions of the last two or three decades. One approach to displaying icons, temple sculptures and objects of decorative and applied art for liturgical purposes in a modern museum considers them as illustrations of certain scientific or cultural concepts, as well as historical documents. One of the versions of this approach is the representation of the religious art as an ethnographic material. Another approach to exhibiting is based on treating icons and liturgical items as works of art. They are considered as recognized masterpieces that should bring the viewer aesthetic pleasure. An important manifestation of artistic and aesthetic positions in such art is the use of specific art concepts for its description: the picturesque features of the region or school, the manner of writing. In modern exhibition practice, this type of demonstration is one of the leading and most common. The third type of display is based on understanding of the Christian art as a sacred object. In this case, with the help of exposition techniques the space of the temple is reconstructed in the halls of museums, the objects of display are symbolically returned to their original surroundings. Moreover, there is a complete reconstruction of the interior of the Church, as well as of its elements, even if they are only a hint of associative reference to the sacred spaces. As a result of the analysis of three main methods of exhibiting the Christian art, the author comes to conclusion that the modern practice of museum demonstration combines previously developed methods of display. The three main techniques described in the article only allow dividing the variety of existing expositions into parts. The actual museum activity is much more complex and in the same exhibition there are sometimes elements of different techniques that complement each other. В статье рассматриваются современные способы показа церковного искусства в музеях и выставочных залах. История его экспонирования насчитывает около 150 лет. На всём протяжении своего музейного бытования роль церковного искусства по-разному понималась обществом и самим музеем. Поэтому цели и задачи, а также методы демонстрации были весьма различны. Современные музейные исследования определяют музей как идеологическую инстанцию; при этом идеологией называется процесс производства смыслов и закрепления их в статусе норм. В качестве одного из методов формирования смыслов выступают способы показа. По тому, как музей показывает те или иные объекты, можно судить не только о трансляции доминирующих знаний, но и о самих принципах восприятия реальности. Анализ разнообразия музейных интерпретаций церковного искусства на протяжении всего времени его экспонирования позволяет выделить три основные подхода: церковное искусство понимается (1) как иллюстрация идей и концепций, (2) как художественное произведение и (3) как сакральный объект. Каждый из подходов имеет свои концептуализацию, историю применения и примеры использования в современной практике. Задача данной статьи – попытаться проследить, как уже наработанные приёмы, иногда несколько видоизменяясь, находят применение в экспозициях музеев последних двух-трёх десятилетий. Один из подходов к демонстрации икон, храмовых скульптур и предметов декоративно-прикладного искусства богослужебного назначения в современном музее рассматривает их в качестве иллюстраций некоторых мировоззренческих или социокультурных концепций, а также как исторические документы. Одним из вариантов такого подхода является представление церковного искусства как этнографического материала. Другой подход к экспонированию базируется на отношении к иконе и богослужебным предметам как к произведениям искусства. Они рассматриваются в качестве признанных шедевров, которые должны вызвать у зрителя эстетическое наслаждение. Важным проявлением художественно-эстетических позиций при рассмотрении такого искусства является использование для его описания характерных искусствоведческих понятий: живописные особенности региона или школы, манера письма. В современной экспозиционной практике этот тип демонстрации является наиболее распространённым. В основе третьего типа экспонирования лежит понимание произведения церковного искусства как сакрального объекта. В этом случае с помощью экспозиционных приёмов в залах музея реконструируется пространство храма, а предметы показа символически возвращаются в их изначальное окружение. В результате анализа трёх основных приёмов экспонирования церковного искусства автор приходит к выводу, что современная практика музейной демонстрации совмещает в себе ранее наработанные способы показа. Три основные приёма, описанные в статье, позволяют лишь достаточно условно разделить всё многообразие существующих экспозиций. Реальная музейная деятельность значительно сложнее, и подчас в одной выставке сочетаются элементы разных приёмов, которые взаимно дополняют друг друга.

Smart forests can be identified based on forest management plans if 15 stand, landscape or stational characteristics are taken into account. A total number of 34 smart stands were identified after these characteristics were graded based on the studied area and the manna ash’s ecological requests. These stands are located in Dognecei, Aninei and Locvei Mountains, at altitudes between 225 m and 780 m, on South expositions and on fields with inclinations between 7° and 50°. These forests have relatively young ages (specific to manna ash) even though the presence of forests with extremely old ages was also identified. They belong to some stands located in strict conservation areas such as national parks (very well represented in Banatului Mountains) or in production areas. The characteristic soils are eutric cambisol or rendzic leptosol, while hill common beech stands are located on skeletal or chalky soils. Knowing the characteristics of smart manna ash forests is useful for conserving and promoting them.

This article analyses the vulnerability conditions of a fishing community facing the extreme meteorological phenomena aggravated by climate change. The methodology is qualitative, supported by geographic methods, based on the case study of the "La Barra afro-descendant community", located in the Colombian Pacific Coast, in the mouth of San Juan River. As there is limited access to the community due to its geographical conditions, besides the biosecurity requirements due to the COVID-19 pandemic, a documentary analysis, as well as multi-temporal maps based on satellite images, show the spatial changes on the coastline of La Barra, during the years 2001, 2011 and 2019. In addition to the above, interviews with academic experts and community residents are conducted. The term "vulnerability" is understood from the school of thought of climate change science and adaptation research. It is concluded that the vulnerability not only depends on climatic stimuli but also on the racialized and marginalized conditions of Afro populations located in isolated rural territories. In that way, the social and political nature of the meteorological phenomena could transform them in catastrophic events for vulnerable populations. [ABSTRACT FROM AUTHOR]

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Khibiny mountains are the largest alkaline-rock intrusion of the Kola Peninsula located at its central part and having a considerable impact on local geology. Reaching a height of 1200 m above sea level at its top (the highest point of Kola Peninsula), Khibiny is constructing the regional landscape for tens of kilometers around. Alpine character of the mountains area is unparalleled to any other territories on the Peninsula and is unique with its crags, rock bends, lofty precipices, boulders, crevices, and other landscape rock forms such as the leveling surface in the gable zone, denudation pavement, regoliths, outliers, and samples of physical weathering. In addition, there are numerous thresholds and bends filled with lakes and ponds, underground springs, crevice waterfalls, and other water sources. Such a landscape scenery makes the Khibiny mountain group a popular attraction for tourists and visitors of the region willing to get acquainted with the extraordinary local nature ranging from the taiga forests to the Arctic desert. The area also serves as a habitat for several fauna representatives, including brown bears and various Arctic birds species. The long-lasting human presence in the area manifests itself in the local toponymy of geographical names referring to the Saami language and culture. A particular interest lies in the history of the territory’s colonization and development as well as in numerous artifacts related to the Soviet and Russian imperial past (i.e., US steam engine from the early 1920s). Another option for possible tourist attraction might be found in the unusual substrate of alkaline rocks having a very rare type of mineralization containing eudialyte, lorenzenite, aenigmatite, or arfvedsonite with rare phases particular for only a few places in the world, as well as in a variety of locally discovered minerals that can be observed while hiking in the area. This uniqueness and significance have come to appreciate by establishing a local geological museum serving as a geocenter and by the area itself being acknowledged as a national park. All of this foregrounds the development and formalization of off-road hiking tourist routes. This article aims to meet this need by proposing a tourist trail in the area of western Khibiny while taking the reader on an excursion around this extraordinary area. [ABSTRACT FROM AUTHOR]

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Résumé: Les évaluateurs de risques sanitaires doivent caractériser des risques cumulatifs pour faciliter la mise en place d'actions de gestion adaptées. L'identification des zones de surexposition pouvant être liée à un cumul de facteurs de risque ou de nuisances environnementaux nécessite le développement de méthodes et d'approches robustes et adaptées aux territoires étudiés. L'identification des zones de surexposition des populations nécessite à la fois d'accéder à des données relatives (1) à la contamination des milieux environnementaux et (2) aux dangers pour combiner les différentes variables d'exposition. Ce travail présente l'utilisation de différentes méthodes d'évaluation des risques cumulatifs déclinées au niveau territorial ainsi que des outils d'organisation et d'analyse des informations scientifiques afin de caractériser et quantifier, autant que possible, les effets combinés sur la santé humaine d'un ensemble de facteurs de stress environnementaux au niveau des territoires. The job of health risk assessors is to characterize the impact of multiple exposures and combined risks to facilitate appropriate pollution reduction initiatives. Identifying geographical exposure hotspots that may be linked to an accumulation of risk factors or environmental stressors requires robust methods and approaches adapted to the territory studied. This in turn necessitates access to data relating to both (1) the contamination of environmental media and (2) the associated stressor hazards, so that these different exposure variables can be combined. This work presents the various cumulative risk assessment methods used at the territorial level as tools for organizing and analyzing scientific information for a better characterization and quantification of the combined effects on human health of a set of environmental stressors in a given region. [ABSTRACT FROM AUTHOR]

The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.