The emergence of the adversative conjunction /tɛ̀ː/ in Thai

The publication, based on the study of biographical and autobiographical information, characterizes the educational, professional artistic, and educational activities of Ukrainian artists of the middle 19th and early 20th centuries. An analysis of the role of artists as active participants in the national, cultural, intellectual, and social life of Ukrainian society is presented. The author has studied not only the artistic heritage of artists, but also their multifaceted activities, which covered educational, journalistic, and organizational spheres. The article highlights theoretical positions on the educational activities of Ukrainian artists, which are illustrated by specific examples of their experience and influence on the state of society and professional and general education in Ukraine in the 19th - 20th centuries. The author touches on the problems of the direction of the high society of the middle 19th - early 20th centuries. on the development of Ukrainian culture and education; highlights biographical and autobiographical information about Ukrainian artists of the 19th - 20th centuries; reveals the role of the educational activities of Ukrainian artists, their influence on the formation of public opinion; focuses on the relationship between artistic activity with educational and pedagogical practice, the organization of art circles, schools, the creation of studios and participation in cultural and educational societies. Their pedagogical work in schools, colleges, and academies contributed to the formation of a galaxy of famous Ukrainian artists who continued the national artistic and educational tradition of their predecessors. The work also highlights the problem of self-identification of Ukrainian artists as educators and public figures, since art is considered a powerful tool for influencing and shaping public opinion, a means of broadcasting the idea of national revival, social and cultural renewal of the state. Artists took the position not only of creators of aesthetic values, but also of leaders of the national idea, founders of an intellectual space capable of uniting society around common ideological values. The publication highlights the need to understand the heritage of Ukrainian artists of the middle 19th and early 20th centuries not only as artists, but also as outstanding figures of education, who contributed to the formation of national identity with their work.

Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century

Can the 16th and early 17th centuries in Poland‐Lithuania and some other east‐central European countries be characterized as a “Golden Age” in human capital? We trace the development of a specific human capital indicator during this period: numeracy. We draw upon new evidence for Poland and Russia from the early 17th century onwards; and for Belarus, Ukraine, and Lithuania from the 18th century onwards; controlling for potential selectivity issues. Poland had quite high levels of numeracy during the early 17th century, but these levels subsequently fell below those of even southern Europe. As in other countries in the area, numeracy levels in Poland were lower than those of western Europe during the 17th, 18th, and early 19th centuries. This finding might support the hypothesis that the second serfdom process, which gained momentum during the 17th century, was one of the core reasons why human capital accumulation was delayed in eastern Europe. The major wars in the region also had devastating effects on numeracy levels. (KEYWORDS: Central‐Eastern Europe; historical Demography; Eastern Europe; Human Capital; Numeracy; Age‐Heaping; census microdata)

The article presents an analysis of the list of publications cited in the footnotes and text of Chronicum ecclesiasticum Prussorum (Chronicle of the Prussian Church), the seventh book of Deliciae Prussicae, oder preussische Schaubuhne (Prussian Curiosities or the Prussian Theatre), the manuscript by Matthaeus Praetorius (ca. 1635–1704). The manuscript of M. Pretorius’s Chronicle was fund to contain 231 footnotes at the bottom of the pages and more than 100 references in the text itself. M. Praetorius cites 100 authors and approximately 130 publications. From the chronological standpoint, the cited authors range from the 2nd century to 1698, the year of the completion of the Chronicle manuscript. The article discusses the following main groups of the topics and genres of the cited publications: chronicles and histories of the Teutonic Order and the Duchy of Prussia; chronicles and authorial histories published by historians of Poland and the Grand Duchy of Lithuania from the 15th to the first half of the 17th century; histories of the European Church; histories of regional Churches; texts of late-antique and medieval Christian theologians; key texts of the Lutheran theological doctrine and some Catholic theological texts of the 16th century; writings by regional theological polemists of the 16th–17th centuries. From the religious perspective, M. Praetorius refers to writings of the Church Fathers, early Christian and medieval theologians, authors representing Lutheran, Catholic (among them Jesuits), Calvinist, Aryan and Czech Brethren Churches of the 16th–17th centuries; he extensively cites texts pertaining to intra- and extra-Lutheran polemical disputes; in the end of the Chronicle he gives an account of the authors who seeked reconciliation within the Lutheran Church or between among Western European Churches. The majority of the cited authors and publications come from Central and Central Eastern Europe. The most often cited publication is the Bible. The texts concerning the Lutheran theological doctrine are cited most extensively. The selection of the sources was determined by the goals of the Chronicle: to write a history of regional Churches (those of Royal Prussia, Pomerania and of the Duchy of Prussia, which had been changing its political status throughout the 17 th century), and thereby it is oriented towards the early Christian and medieval Church historians and theologists, important for the theological disputes that took place in the region in the 16th–17th centuries. In the Chronicle, M. Praetorius cites a representative selection of contemporary and medieval authors writing on the topic of particular importance to him: the possibilities for the Prussians to encounter Christianity and the beginnings of their Christianization. His selection of historians of Poland and the Grand Duchy of Lithuania of the 15th–17th centuries is also comprehensive. The foundations of his erudition were laid in the German Evangelical universities and strengthened through independent studies of regional historians’ writings. The list of authors and publications cited by M. Praetorius in the Chronicle shows him as a very well-read, professionally qualified historian. From the broad repertoire of Central and Central Eastern European publications of the 16th–17th centuries, he opts for those that were relevant for his purposes; however, he essentially omits the works that fostered the new history-writing paradigms of the late 16th and 17th century. Fom the contemporary authors, he tends to select the ones who sought reconciliation within the Lutheran Church or among different Western European Churches and thereby laid the foundation for the Pietist and Irenic movements.

The purpose of the study is to analyze the information load and plastic solutions of the anthropomorphic mascarons on the facades of Lviv buildings of the XIX – early XX centuries. Methodology. The article uses general scientific research methods: the historical and comparative method; the method of synthesis and the art history analysis. Research results. The Lviv architectural and decorative plastics of the 19th and early 20th century is characterized by a widespread typology of the mascarons on the facades of the buildings. Various types of faces of old Lviv street, paired male and female images, which represent the unity and the harmony of two beginnings (portraits of married couples), as well as the generalized artistic images, belong to the number of the anthropomorphic maskarons of Lviv of the specified period. The article analyzes the information load and the plastic-stylistic features of various anthropomorphic maskarons of the typological group under study. The authors of the various types of old Lviv street emphasized the efforts to convey the character of the depicted faces. Their artistic expression is enhanced by some personal attributes. This applies to the paired and the generic Lviv maskarons to a lesser extent. On the basis of an art historical analysis of a number of specific samples of the anthropomorphic mascarons of Lviv of the 19th and early 20th century, a species classification of the given typological group has been developed. Scientific novelty. Detected and analyzed the information load and plastic characteristics peculiarities of the mascarons in Lviv architectural and decorative sculpture of the XIX – early XX centuries. Practical ignificance. The proposed article is part of a comprehensive study of the broad typology of the Lviv maskarons of the 19th and early 20th century. The results of the work open up some opportunities for a further research of the groups and the subgroups of the Lviv mascarons and for a detailed art historical analysis of some individual original samples of relief faces of Lviv of the studied period.

The article analyses the phenomenon of post-truth as one of the mechanisms of cultural mobilization of the masses in the context of the Philosophy of Truth and the Basic Myth theory of George Sorel. The relevance of the study is determined by the possibility of establishing several previously unstudied reasons for the cultural turn that has led to the spread of the phenomenon of fakes. A result of which leads to emotional assessments, political bias and prejudices prevail over rational arguments, and the concept of truth is blurred. The purpose of the article is to provide a conceptual analysis of the trend that can be defined as the transition from the philosophy of Truth to the philosophy of post-Truth. In order to achieve this goal, it was necessary to complete the following tasks: 1) to explicate the conceptual apparatus of Russian philosophical culture, grouped around the philosophical themes of Truth and Verity; 2) to test it by analyzing the processes of reception and further development of Marxist philosophy in Russia; 3) to identify and describe the non-trivial features of these processes; 4) to compare the concept of post-Truth with G. Sorel’s theory of basic myth; 5) to apply the resulting theoretical hybrid to the analysis of fakes in the culture of the information society. The research materials are the works of Russian philosophers and prominent socio-political figures who reflected on the relationship between Truth and Verity in the 19th – 20th centuries. The research utilizes historical-genetic, hermeneutic and axiological approaches, which use various methods of description, comparative and conceptual analysis. G. Sorel's teaching on the basic myth was also used as a theoretical lens. As a result of the study, the cultural and philosophical specificity of the transition from the philosophy of Truth to the philosophy of post-Truth was reconstructed. The paper shows that the conceptualization of Truth and Verity in Russian culture and philosophy that took place in the 19th and early 20th centuries revealed the potential for mutual correspondence and inconsistency between these concepts. Applying the resulting conceptual apparatus to the development of Marxism in Russia in the first half of the 20th century that the concept of posttruth appeared as early as in the first third of the 20th century. The key features of the early model of post-Truth can be considered its manipulative nature, dependence on leaderism and connection with the media. Moreover, the consideration of this phenomenon as an element of Soviet ideology in the framework of the theory of the basic myth of G. Sorel showed its connection with the so-called culture of meaning, which moved from the search for Verity to the search for Truth and later to the state of post-Truth. In turn, philosophizing in the post-Truth mode has proven effective in mobilizing collective action, which served to further popularize and develop the practices of using the philosophy of post-Truth. This process manifests itself within the framework of the strategy of producing fakes, actively implemented by groups and individuals at the present time.

Today Vasyuchyn is a small village with about one thousand inhabitants. The settlement had urban status and was one of the famous craft centers in the past. There was a quarry here, where high-quality natural alabaster stone was mined and processed. Vasyuchyn alabaster had a snow-white color and was famous as a beautiful material for decorating walls, carving sculptures, tombstones and decorative architectural details. Actually, Vasyuchyn alabaster was called in the 17th century "Ruthenian marble" and products made from it were exported abroad. A small alabaster industry operated here at the beginning of the 20th century. The ancient history of the manufactory is unknown to current residents. In this regard, the publication aims to reveal the history of the settlement and perform a hypothetical reconstruction of its architectural and planning structure at the time of the 17th century. A special task is to determine the location of the former Vasyuchyn alabaster manufactory, whose activities were associated with famous sculptors and entrepreneurs of the late 16th and early 17th centuries - Herman van Hutte and Heinrich Horst. The quarry and workshop for the production of alabaster stone sculptures have probably been operating in Vasyuchyn for a long time, but the Dutch masters are responsible for raising it to a new artistic level. Vasyuchyn is one of the lost towns of Galicia. In the 14th-17th centuries, it was a private town with a very rich history. Although the history of Vasyuchyn was quite short from 1444 to 1620, its urban structure was developed and did not differ from neighboring settlements with a city rights - Knyahynychi, Khodoriv, Zhuriv, etc. In the western part of the settlement there was a midtown with a small square market square and a church. A feature of Vasyuchyn was that a mill was located next to the market square. The midtown of Vasyuchyn was surrounded by water obstacles on all sides. The water wheel created natural favorable conditions for defense. The system of defensive ramparts covered the midtown from the western and southern sides. Assessing the remains of the ramparts, which have survived only in the western part of the settlement, we attribute them to the bastion system of fortifications of the Old Dutch school. The mid was probably fortified at the turn of the 16th and 17th centuries, when an alabaster factory operated here. The urban structure of the city belonged to the so-called conjugated type of cities, when the castle and the midtown formed a combined defense system. Vasyuchyn Castle had two phases of development. The older defensive yard was located on an artificial island in the middle of a swampy Swirzh river valley.The remains of earthen ramparts have survived from this object. The new castle was located in the southern part of the midtown. Unfortunately, no buildings or fortifications have survived from it. A palace complex with a manor house was planned on the site of this object at a later time. Its planning structure reflected in the draft plan of the settlement from 1846. In order to reconstruct the architectural and spatial structure of the castle, which probably had a Renaissance character, it is necessary to conduct deeper historical and cartographic studies. The town of Vasyuchyn in the 16th-17th centuries should be attributed to the conditional artistic capitals of the Renaissance in Galicia. The products of the alabaster workshop exported to the many cities of Eastern and Central Europe. Artistic works made of Vasyuchyn alabaster noted in Kraków, Warsaw, Poznan, Wroclaw, Czarnów, Rymanów, etc. Many works made for local shrines - in the cities of Lviv, Sambir, Felshtyn, Uniw, etc. The revival of the alabaster industry, especially in the direction of using alabaster stone in an artistic aspect, can be the foundation of a new economic progress of the community.

The turbulent past has marked the entire area of Bosnia and Herzegovina, especially its peripheral parts, which were often influenced by violent demographic changes, reflecting on various population structures. The wider area of Podrinje was affected by forced migrations of the Bosniak population during the 19th and 20th centuries. The expulsion of Bosniaks from the Principality of Serbia in the early 1830s significantly impacted the demographic structures of the Bosnian Podrinje region, especially the Osat region. This study does not explore various anthropogeographic changes in the settlement of Pribidol, whether they occurred during normal or forced social events, but rather investigates the process of family formation and households during the 19th century. The most important historical sources used for the mentioned research are: the Ottoman census of male household members of the Srebrenica District in 1850/51, the Ottoman cadaster of 1867/75, the list of residential property owners from 1880/84, as well as the land registry books of the Srebrenica District in 1894. This study explored the families that lived in the settlement of Pribidol during the 19th century. These are the following families: Ahmetović, Aljić, Begić, Dervišević, Džananović, Halilović, Husić, Ibišević, Ibrahimović, Janković, Marković, Mešanović, Mitrović, Muminović, Mustafić, Osmanović, Salkić, and Smajić. In the Muslim area of Pribidol, 19 households, or family households, were recorded, with a total of 79 male individuals, with an average age of 20.1 years. In the then-independent settlement of Pribidol, 15 households were recorded, with 59 male individuals, with an average age of 19.0 years. In the Barakovići mahalla, 3 households were recorded, with 14 male individuals, and in the independent settlement of Zgunja, one household was recorded with a total of 6 male individuals. Therefore, the total population of Bosniak Pribidol was around 160 individuals of both sexes. During the conducted census in 1850/51, only two families had a family surname, which changed in the early 1880s. According to the 1879 census in the settlement of Gaj (Turkish Pribidol), there were 171 inhabitants (93 male individuals) all of Bosniak nationality. There were 25 houses and an equal number of apartments in the settlement, with an average of 6.8 individuals per household. The 1895 census recorded 315 inhabitants (158 male individuals). There were 255 Bosniaks and 60 Orthodox inhabitants. There were a total of 50 houses (2 uninhabited) with 50 households - an average size of 6.3 members. Between 1850/51 and 1895, there was a significant increase in the population of the settlement of Pribidol, especially in the last census of 1895. This growth was conditioned by the settlement of Orthodox inhabitants, who constituted 25% of the total population in 1895. The list of residential property owners from 1880/84 identified three new mahallas (Kadrići, Podševar, and Živkovići) compared to the census of 1850/51. These Bosniak families of the settlement of Pribidol persisted throughout the 19th and early 20th centuries, either through male or female lines, except for changes in the family surname among married female inhabitants. Some family surnames ceased to exist in the late 19th and early 20th centuries, either due to the extinction of their male members or their emigration from the settlement of Pribidol. This particularly applies to families with the surnames Ahmetović, Halilović, and Mešanović. The number of households (families) increased among other Bosniak families until the mid-20th century, and some of their members moved to other settlements in the Podrinje region, primarily around the cities of Bijeljina, Bratunac, and Srebrenica.

In recent decades historians, sociologists and political scientists have attempted to explain why in the late 19th and early 20th centuries some Western countries adopted national corporatist structures while others transformed into liberal market economies. One of the explanatory factors often mentioned is the persistence or absence of guild traditions. Yet how exactly guild traditions influenced the shaping of national political economies largely remains unclear due to a lack of empirical evidence on their 19th-century development. This paper aims to contribute to the debate by investigating the development of various trades in Germany, the United Kingdom and the Netherlands throughout the 19th century. We distinguish six scenarios of what might have happened to crafts during the transition to an industrial economy. Next we focus on the prevalence of these six scenarios in the three countries and their influence on the emerging national political economies. We conclude that the claims put forward in the literature about the importance of guild traditions are only partially correct. By focusing on trades, rather than on the national or local political economy, our analysis demonstrates that in our three sample countries a wide variety of trades – some in which guild traditions survived, others in which these traditions had never existed or were destroyed in the 19th century – existed side-by-side. Decisive in the formation of national political economies and citizenship rights weren’t general national patterns, but which of these trades came to dominate the development of national political economies by the end of the 19th century.

The report presents the changes that took place in nahiya Kara Lom between the late 17th and early 18th centuries. It is based on published and unpublished Ottoman documents – detailed cizye and avariz defters, stored in the Ottoman Archives in Istanbul and at the Oriental Department in Sofia. They were composed in the late 17th – first half of the 18th centuries. At the turn of the 18th century, very significant transformations took place in this region, which changed its appearance and state fundamentally. The main focus of the study is on the demographic and religious changes and processes in the region. They were expressed in the sharp decline of the population. This process was specific to the whole region, and its causes can be traced to many factors that have had a detrimental effect. These included climate change, plague epidemics, population migrations, economic problems in the Ottoman Empire, and the process of Islamization. They led to a decline in the population of Kara Lom, which can be described as a demographic crisis. In the vortex of this crisis, there was a “change” of the confessional image of the nahiya, i.e. a radical change in the religious model of the district, which had disastrous consequences for many settlements in the region. The report provides possible explanations for the demographic and religious transformations in nahiya Kara Lom, which shaped the area in the next century as we know it today.

The article deals with the features of constructing the image of a false ruler in German chronicles of the late 13th and early 14th centuries. Describing modus operandi of the false emperor Frederick II of Staufen (acted in the Lower Rhine in 1284—1285) and giving characteristics the social groups that sympathized with him medieval historiographers looked for an image, which could serve for them as a prototype in their description of medieval reality. The author found out that this prototype was Antichrist, the character of Apocalypse as an ideal imitatior, i.e. a person, which claims were totally false. The medieval exegetics this character acquired characteristic properties and attributes. The medieval exegetists created to this character various features and attributes. Medieval chroniclers, resynthesized the idea of “imitator” creating the image of the false emperor, reworked such “signs” of the Antichrist’s “repetition” as some details of the Christ’s biography, convincing eloquence, generosity, creation of miracles.

Relevance of the study. For a long time, the musical tradition of the Uniate Church of the Baroque era, represented, like the Orthodox, by a significant number of partes compositions, was completely unknown not only to the general public, but also to scholars specializing in the ancient sacred music of Eastern Europe. Today, it is important to update the musical heritage of Uniate composers, to emphasize the specific features of their works, namely the combination of church traditions of the Eastern and Western Churches. Particularly promising is the study of genres that were borrowed from Roman Catholic church practice and adapted for the believers of the Uniate Church. In this context, litany is one of the most representative of them, because the practice of reading and singing them during the Baroque era became widespread in Western Europe, and then was quickly adopted by the believers of the Uniate Church. Litany, like a spiritual song of paraliturgical purpose, became a marker of the uniqueness of the Uniate musical tradition and an artistic manifestation of the Basilian Baroque, which has the same cultural-creative potential as the Cossack one. The purpose of the article is to characterize the specifics of the perception of the litany as a liturgical genre in the church practice of the Uniate Church of the Polish-Lithuanian Commonwealth in the 17th — 18th centuries, in particular to reveal the features of the translations of the Latin text of the litany into Church Slavonic and to determine the approaches to its musical interpretation. The methodological basis of the article was the historical cultural, analytical and comparative methods, with the help of which the translations of the Latin text of the Loretan litany into Church Slavonic (with elements of old Ukrainian) of the partes compositions from the Suprasl collection of the late 17th century, the Pochaiv Prayer Book (1793) and the Lemky manuscript songbook (1789 — after 1793) were analyzed, the musical component of the partes litany of Tomasz Szewerowski and an anonymous author was characterized. The results and conclusions. As a result of the Latinization of the Eastern Rite, which began in the 17th century, chants that were not typical of the Eastern Christian church tradition appeared in the liturgical practice of the Uniate Church, among which the Litany to the Mother of God (Loretan) gained particular popularity. The existence of at least two of its translations in Church Slavonic is attested. The first was created in one of the Uniate monastic centers of the Kyiv metropolis at the end of the 17th century, probably in Suprasl, and its textual variants formed the basis for two six-voice partes compositions from the collection of the Suprasl Monastery. The second translation was published in the Pochaiv Prayer Book of 1793, and was later distributed not only through printed publications, but also manuscripts. The texts of the Suprasl and Pochaiv translations differ, sometimes significantly, indicating their autonomy, while both have unchanged translation principles, namely reliance on the Church Slavonic translation of the Holy Scriptures and Eastern Christian hymnography, taking into account, but not blind imitation of the regional Catholic traditions of the Polish-Lithuanian Commonwealth. The music of two partes litanies from the manuscript collection of the Supraśl Monastery reflects current trends in European sacred musical creativity, and also takes into account the experience of writing litanies, which, due to the specificity of the text, required a special approach to the construction of musical dramaturgy. The composers are guided by regional liturgical traditions, as indicated by the texts of the litany translations, and offer their own musical solutions that differ from the Roman Catholic models of that time. Tomasz Szewerowski's litany belongs to the lyrically affected figurative sphere, characteristic of minor works of the Baroque period. It is distinguished by the harmony of form, which is cemented by a musical phraserefrain, which has an additional semantic load (angelic singing) due to the sound of the treble part. In the Litany of the anonymous author, who represents another type of imagery — sublime and solemn, an important role in musical dramaturgy is played by the nature of the musical material and repetition as a means of form-building. A special feature of his litany is an appeal to musical rhetoric, which is generally not characteristic of this genre. In accordance with the liturgical practice of the Uniate Church of the 17th — 18th centuries, partes litanies are appropriately performed accompanied by musical instruments.

В статье анализируются формально-стилистические и иконографические особенности лукканской школы живописи на примере расписных крестов, выполненных мастерской Берлингьери в XIII веке, деятельность которой ознаменовала «золотой век» лукканской художественной культуры. Среди основных школ живописи, сложившихся на территории Тосканы в XIII веке, в искусствоведческой литературе широко изучены пизанская, сиенская и флорентийская, в то время как лукканская зачастую остается вне поля зрения исследователей. Однако в рассматриваемый период она переживала свой расцвет, и связан он был именно с деятельностью мастерской, основанной Берлингьеро Берлингьери, также известного как Берлингьеро ди Миланезе. Среди произведений, выходивших из мастерской Берлингьери, можно отметить значительное количество расписных крестов, которые и стали объектом данного исследования. Расписные кресты с изображениями распятия (croce dipinta) представляют собой яркий феномен в художественной и религиозной жизни Италии XII–XIV веков. Этот вид объектов религиозного культа нашел особенно широкое распространение в Умбрии и Тоскане. Однако для того чтобы проанализировать их формально-стилистические и иконографические особенности, которые являются предметом изучения, привлечены и более ранние образцы расписных крестов лукканской школы, а также некоторые знаковые памятники подобного рода, выполненные позднее, что дало возможность проследить характерные черты и эволюцию лукканской школы живописи. В работе использованы формально-стилистический, иконографический и сравнительный методы. Результаты исследования дают представление о значимости мастерской Берлингьери в контексте лукканской живописной традиции, позволяют оценить ее особенности и наметить пути последующих исследований. The article analyses the formal, stylistic, and iconographic features of the Luccan school of painting. The study focuses on the painted crosses made by the Berlingieri workshop in the 13th century, which marked the “golden age” of Luccan artistic culture. Among the main schools of painting that emerged in Tuscany in the 13th century, the Pisan, Sienese and Florentine schools are widely studied in art history literature, while the Luccan school is often overlooked. However, during the period in question it was at its peak, which was associated with the workshop founded by Berlinghiero Berlinghieri, also known as Berlinghiero di Milanese. Berlingieri's workshop created a numerous painted crosses, which are the subject of this study. Painted crosses, also known as croci dipinte, were a significant phenomenon in Italy's artistic and religious life during the 12th–14th centuries. They were particularly popular in Umbria and Tuscany. However, in order to analyse their formal, stylistic and iconographic features, which are the subject of the study, earlier examples of painted crosses of the Luccan school, as well as some iconic monuments of a similar kind, executed later, were also involved. This made it possible to trace the characteristic features and evolution of the Luccan school of painting. The study employed formal-stylistic, iconographic, and comparative methods. The study's results provide insight into the significance of Berlingieri's workshop within the Luccan painting tradition and allow us to evaluate its peculiarities and outline the ways of further research.

This article examines the architectural and epigraphic monuments associated with the history of the Naqshbandi-Mujaddidi tariqah in the 18th-19th centuries. Information about this tariqah is obtained based on epigraphic data. The article contains information about the murshids who carried out their activities within the “Suf Allahyar” and “Musakhonkhodja Dahbedi” branches of the Central Asian Naqshbandi-Mujaddidi tariqah in the 18th- 19th centuries, as well as information about architectural monuments and epigraphic inscriptions directly related to them. It also provides valuable information about the activities of the murshids of the tariqah Qamariddin Khuzari and Mavlono Mirmuhammad Ibrahim Khodja Samarqandi, as well as about their mausoleums and cemeteries. After Mavlono Mirmuhammad Ibrahim Khodja Samarkandi, the Naqshbandi-Mujaddidi-Dakhbedi chain was continued by his disciples Muhammad Amin Khodja Dahbedi, Abdumalik Khodja Gaziraghi, Eshoni Walikhon Urguti, and Eshoni Suf Khodja, and others. From the descendants of Mavlono Mirmuhammad, Ibrahim Khodja Samarqandi came such famous people of their time as Mirmuhammad Nasriddinkhan, Mirmuhammad Fayzulla Mahzum, Mirmuhammad Sayyid Gani Mahzum, Mulla Muqaddas, Sayyid Valikhan, Eshoni Sultankhan. The scientifc novelty of the research results is substantiated by the data of epigraphic inscriptions on the tombstone installed on the grave of Mirmuhammad Ibrahim Khodja. Based on the indicated epigraphic sources, the article also contains quotations and information about the history of the Naqshbandi-Mujaddidi tariqah, which is not found in manuscript sources. In our work, we used comparative, historical, and chronological research methods.

Objective. The purpose of the article is to study the history of the multidisciplinary publishing business of the fundamental Ukrainian organization of the 19th century – the Taras Shevchenko Scientific Society. The object is the scientific book heritage of the Society for 150 years, which is a powerful potential of the educational process and patriotic education of young people. Methods. In accordance with the tasks set, analytical and synthetic, systemic and structural, comparative and statistical methods of scientific research are developed and used. This article analyses the collections of rare and valuable editions of the scientific library of the Oles Honchar Dnipro National University (DNU), namely, the collection of publications of the second half of the 19th and early 20th centuries of the Shevchenko Scientific Society. Results. The research analyzes the entire collection of scientific works of the Scientific Society of the 19th and early 21st centuries, which is kept in the Oles Honchar Dnipro National University library. The editions of the 19th and early 20th centuries and a book collection of the Canadian branch of the National Academy of Sciences of the second half of the 20th century are valuable in terms of content. Special attention is paid to the study of sources on the history of Ukraine as records of the national book heritage. A selection of modern publications of the Society by subject is highlighted. Conclusions. One of the important activities of a scientific library is the disclosure and dissemination of information space regarding its collections. The book Heritage of the Taras Shevchenko Scientific Society is a unique primary source for studying the history of the formation of the national identity of Ukrainians.