In today's criminal procedure law investigation is a very important stage of the criminal process. Both in theory and in practice investigation is one of the main phases of the procedure beside the other, the trial or judicial phase. However in our previous legal system a different approach was typical: at the beginning of the 20th century the preliminary or preparatory nature of the investigation was emphasised, while from the 1950s the role of investigation became increasingly stronger. From this period it became clear that investigating authorities can conduct evidentiary proceedings (not merely data collection). This study attempts to follow the latter development, i.e. it traces the theoretical and legislative changes that have led to the current legal status of the investigation.

Anosognosia (from the ancient Greek—a-, “without,” nosos, “disease,” and gnōsis, “knowledge”) has been recognised as one of the most complex syndromes investigated from different theoretical and clinical perspectives in patients with brain damage since the beginning of the last century (see [...]

This article explores the trajectory of the Neapolitan song “Birbantella” at the beginning of the 20th century. Originally published as a musical score in Naples in 1905 and recorded in 1906, it underwent its first transformation in Athens in 1908. There, while its original musical form was preserved, the lyrics were radically rewritten to become a social satire titled “The Modern (New) Woman”. In 1909, the song reached the Greek-speaking musicians in Ottoman Smyrna, where it retained the satirical lyrics but adopted a new musical style: the instrumentation and vocal techniques were adapted to the practices of local estudiantinas ensembles, revealing a sonic syncretism in which East and West engaged in dialogue. The comparative analysis of these three historical sound recordings highlights two distinct approaches to musical adoption. The Athenian approach, which focuses primarily on the text, aligns with Greece’s broader project of Europeanisation, whereas the Smyrnean reinterpretation reflects the syncretism of a cosmopolitan metropolis. The trajectory of this song thus nuances the East – West dichotomy, revealing complex cultural interactions and intermediate spaces characterised by creative dialogues

The creation of the company Conchon-Quinette is the result of the union of two families. The Conchons were originally from Volvic (a small town at the gates of Clermont-Ferrand). The Quinette family came from Normandy and settled in the capital of Auvergne at the beginning of the 19th century. Between 1843, when the first store was opened at number 14 on Blatin Street, in the heart of Clermont, and 2009, when the company was entirely bought off by Devred, Conchon-Quinette took on to make a name for itself. The company reached up to 3000 employees (mostly women) with its ten or so clothing factories and its 200 retail stores, present in more than 40 French departments (administrative divisions of France). In order to study how this clothing manufacturer from Clermont falls into the scope of comparison, and what the main challenges of this approach are, we made the choice of a thematic approach in 3 parts. Firstly, our task will be to emphasize how the company stands out with its rediscovered history. Secondly, we will study the company through a traditional comparative historical method. We will use other examples of companies for reference without claiming to be exhaustive. Last but not least, we will develop a novel approach, the “comparaisonée” approach, which will entail a more internal comparison of the company Conchon-Quinette.

The article is devoted to the history of lexemes that nominate the concept of motherland in the Belarusian language, and their characteristics according to different dictionaries. The history of the Belarusian words радзіма, бацькаўшчына, айчына is shown with Ukrainian and Russian equivalents and traced to the modern semantics. The lexemes бацькаўшчына, айчына and later радзіма began to be actively used in the meaning of ʽa country historically belonging to a certain people and inhabited by this people’ at the beginning of the 20th century. Direct nominations of the concept of motherland are rarely used in colloquial speech and in folklore texts; they are not found in phraseological, paremiological, dialect dictionaries. In the traditional Belarusian linguistic worldview, the motherland is presented differently than in the modern one. Firstly, it is ʽplace of birth, small homeland’, not ʽcountry’. Secondly, instead of direct nominations, the synonyms край, кут, зямля, дом, хата are used.

The issue of identity and its loss has often been addressed in émigré literature, as it deals with the inner conflict that individuals feel in relation with themselves and the society in which they live. Thus, many Russian writers at the beginning of the 20th century who experienced emigration turned to literature in order to express their feelings and ideas about integrating in a new environment, but also to represent the impact that this change may have on immigrants’ perception of their own life. The purpose of this article is to analyze the psychological mechanisms through which some of Nina Berberova’s characters (a writer belonging to the first wave of Russian emigration 1920-1940) come to define their identity, attributing their social and professional failures to the changes brought about by emigration. To this end, we will consider the characters’ perspective as well as the narrator’s discourse. We will also analyze the possible causes of the emergence of an identity crisis in the lives of these characters, both before and after their refuge abroad.

While the genetically and hormonally controlled prenatal development of male genital organs has been described in increasing detail since the beginning of the 20th century, and several genes involved in ovarian development have now been identified, the hormonal factors involved in female genital differentiation remain largely unexplored to the present day. The physiological model that continues to prevail today follows abinary logic of the presence and absence of hormonal and genetic factors: masculinity appears as the result of active biological processes, while femininity appears as their absence and passive "default pathway". Historically, this model can be traced back primarily to the animal experiments conducted by the French embryologist and endocrinologist Alfred Jost in the 1940s. Feminist criticism of science, some of which comes from the life sciences themselves, has for several decades been problematising the continuing dichotomy of activity and passivity as areproduction of traditional cultural assumptions about gender, as well as the desideratum of researching prenatal female sex differentiation, which in their view requires explanation. This article takes up this longstanding critique and expands on it with ahistorical analysis of the material and technical conditions of early embryonic sex development research in the first half of the 20thcentury. Based on four central experimental systems-(1)the anatomical and morphological studies of Pol Bouin and Paul Ancel around 1900, (2)research on Freemartinism in the 1910s, (3)Eugen Steinach's sex reversal experiments in the 1910s, and (4)Vera Dantschakoff's embryological sex hormone research in the 1930s-it is shown how the binary, masculinity-focused model of embryonic sex development was already taking shape before the 1940s under the influence of specific material and technical research conditions of the early endocrinological experimental systems. The aim is to highlight the role of these material and technical conditions, and in particular of hormones as epistemic, technical and sometimes rebellious things within these systems, and to discuss possible path dependencies up to current experimental configurations in sex development research.

The autonomous status of Malang City, established at the beginning of the twentieth century, brought significant changes to urban space and community life. These spatial changes are evident in the emergence of leisure spaces designed to accommodate a European lifestyle. The development of various forms of entertainment, supported by related facilities, represented an effort to serve the needs of the elite classes who migrated to Malang in large numbers. As a result, entertainment venues and leisure spaces fostered new forms of European-style leisure activities.This paper examines the formation of leisure spaces as representations of social class in Malang City, the relationship between leisure spaces and European communities, and the transformation of urban society in connection with leisure practices. The study employs historical methods and relies on primary sources drawn from contemporary newspapers. Publications such as Indische Courant, Java Bode, De Locomotief, and Soerabaijasch Handelsblad functioned not only as historical records but also as media for promoting leisure spaces. Using leisure class theory, this study analyzes the socio-cultural practices that took place within leisure spaces and contributed to the shaping of urban areas during the Dutch East Indies period. Dutch colonial power, as reflected in leisure and entertainment spaces, underwent significant changes following the collapse of colonial rule and its replacement by Japanese occupation. Nevertheless, Dutch colonial influence continued to shape the character of Malang. The social and urban transformations that occurred in the city reflected the growth of consumerism and entertainment culture. Ultimately, the emergence of entertainment venues in Malang became a symbol of colonialism, marked by distinctive patterns of inclusivity and exclusivity.

The study analyzes the Moldavian diplomatic mission carried out between 1505-1506 to Venice, one of the few non-political missions from the early period of Bogdan III’s reign. Sent in the context of preparations for the marriage with Elizabeth, daughter of the King of Poland, the mission reflects the prince’s personal concerns rather than strategic objectives. The delegation included Ieremia the treasurer, Gheorghe the cupbearer and Bernardus the castellan, the latter dying on the route between Buda and Venice. Venetian sources, especially Marino Sanudo’s accounts, provide details about the audience of the envoys at the Venetian Senate, about the gifts brought to the doge and about their participation in official ceremonies and carnival festivities. The prolonged presence of the Moldavian envoys in the lagoon indicates their integration into the Venetian diplomatic protocol and contact with representatives of other European powers. The mission, although personally motivated, illustrates the complexity of the Moldovan diplomatic apparatus, the professionalism of the boyar elite and the major risks of diplomatic activity at the beginning of the 16th century, transforming into a significant episode in the history of Moldova’s international relations.

This article aims to recognize the unique work of the great artist Hilma af Klint, displaying her particular quest through visual art and contact with the spiritual world. Hilma af Klint (1862-1944) was a Swedish painter, Carl G. Jung´s contemporary, whose images have had an impressive echo in the last decade (after several unsuccessful attempts to disseminate her work). Both called for observing and experiencing the world from a different perspective. In Af Klint's images, as in those of Jung's The Red Book, we find similar influences from the movements that permeated European culture at the beginning of the 20th century, as well as the presence of the spiritual quest proposed by alchemy. A brief overview of the context of the artist and her work will be provided, focusing mainly on two of her series: The Tree of Knowledge and The Swan, belonging to the large set of Temple Paintings.

Abstract Since the beginning of the last century, anthropic interventions and activities have intensified on the Atlantic coast of Uruguay, generating important pressures, disturbances and negative impacts. It is the case of a coast characterized by extensive systems of mobile dunes that crossed beach arcs delimited by rocky extremities, lagoons and coastal marshes. From that moment on, a transformation process was triggered that involved the afforestation and fixation of the dunes and their subsequent urbanization and commercialization, which we call anthropogenic driver. With the passage of time, this driver has produced a hardening and shrinking of the coast that, ironically, affects anthropic urban infrastructures, mainly due to the erosive action of waves and the flooding of low-lying areas. This study analyzes the main causes of coastal system dysfunctions that have triggered various problems and conflicts at the socio-ecological level and that position the coast as a zone of environmental conflict. We examine the alterations in sediment recirculation caused by the fixation of dune systems, in particular the bypass between the rocky extremities of the beach arches, and make an estimate of the amount of sediment transported by wind and marine action, as a way to identify sediment inputs and outputs of the coastal system. We found that the erosive process currently observed can be explained by an important deficit of sediment in the aeolian transport from the dune systems. At present, almost all of the dune systems are already fixed and urbanized. Sediment inputs depend on what can be mobilized from the beach and foreshore by longshore littoral drift, where wave action and sea level are beginning to play an increasingly important role. It is expected that if current climatic and anthropic occupation trends continue, erosion will increase in several sectors of Uruguay's coast, with the process of anthropic forcing taking priority over sea level rise due to climatic changes, with significant environmental and therefore socioeconomic and cultural impacts. Future coastal zone management should focus on preserving areas that are exempt or underdeveloped in terms of urban infrastructure and provide space for coastal zone readjustment.

This essay is dedicated to examining the next art-historical period of world culture, Modern I (1890s-1920s), which inaugurates the era of the same name. This period is generally characterized by a transition from the Classical era to Modern art, thus prompting an analysis of its key manifestations with an emphasis on the evolutionary processes at play. For instance, some of the most vivid manifestations were observed within the culture of the Silver Age (a concept whose application extends to numerous phenomena in both Russian and international art). Key characteristics of this period include: a sense of decline, the end of an era, accompanied by an elegiac and tragic mood, and the motif of old age. This was often juxtaposed with a counter-movement celebrating dawn, spring, vitality, and themes of youth. Other notable aspects include the flourishing of Expressionism and the emergence of a new aesthetic, an “anti-aesthetic”. The unfolding of the heroic spirit at the beginning of the 20th century gave rise to various tendencies: the portrayal of strong, courageous heroes; descriptions of urbanized existence born from life in large cities; the archaization of images; recourse to the heroes of ancient myths; and the embodiment of ideas of mass and revolutionary heroism. The transition from the Silver Age to the Industrial Age can be traced through the development of Art Nouveau and the emergence of constructivism. The dawn of the new century was marked by significant “anti-lyricism”, yet the emotional-lyrical element manifested all the more powerfully (e.g., operatic verismo, the poetry of the Silver Age). Equally prominent tendencies included both a quest for beauty and spirituality in all their manifestations, and a protest against the aesthetics of the Silver Age and classical principles in general, which in some cases led to simplification and schematism. The aspiration to penetrate the very essence of phenomena by dissecting them into their minutest components spurred the development of Cubism and other “futuristic” movements. Overall, the author traces how art was fragmented between waning Classicism and nascent Modern. However, an equally significant body of work consisted of pieces that organically blended enduring traditions with new trends in varying proportions.

The article is devoted to the analysis of the initial stage of academic fixation of the Yakut epic art of olonkho in the period from the second half of the 19th century to the beginning of the 20th century. The study of their primary sources, methods and principles of work is not only of historical but also methodological importance, revealing the process of formation of a scholarly approach to the documentation of the oral tradition. The first steps in this direction were taken in the middle of the 19th century, when representatives of academic science and political exiles who found themselves in Yakutia began the process of translating the oral tradition into written format. This process was accompanied by numerous difficulties, and its effectiveness depended on the principles and methods of recording applied by the collectors. The accuracy and completeness of the fixation of the performed text determined the future scientific value of the Olonkho epic. The purpose of the research was to identify and characterize the methods and principles that were guided by the first folklore collectors in recording and publishing olonkho texts, as well as to evaluate their contribution to the preservation and study of this unique cultural heritage. The objectives of the work include: to determine the role of pioneers in this field (A. F. Middendorf, I. A. Khudyakov), to study the evolution of approaches to transcription and translation of epic texts by E. K. Pekarsky, S. V. Yastremsky and V. N. Vasiliev, as well as the analysis of the participation of literate representatives of the Yakut people (K. G. Orosin, A. P. Afanasiev) in the process of recording the oral tradition. Special attention is paid to the methodological principles that the researchers tried to observe: literal recording from the words of the olonkhohut narrator, preservation of dialectal and linguistic features, refusal of arbitrary literary corrections. The practical application of the research is that its results are of fundamental importance for modern folklore studies, textology. The analysis of early recordings allows to reconstruct the authentic features of the performance tradition of nineteenth-century olonkhohuts, to understand the evolution of the epic canon and serves as a reliable source base for further research.

Three painted valuable wood sculptures from conventual collections in Apulia (Southern Italy), made between the beginning of the 17th century and the first half of the 18th century, were studied to shed light on the pictorial materials and techniques of the Neapolitan Baroque sculpture in Southern Italy. A multi-analytical approach was implemented using integrated micro-invasive techniques, including polarized light microscopy (PLM) in ultraviolet (UV) and visible (VIS) light, scanning electron microscopy coupled with energy dispersive spectroscopy (SEM-EDS), Fourier-Transform Infrared (FTIR) spectroscopy, and pyrolysis–gas chromatography/high-resolution mass spectrometry (Py-GC/HRMS). The stratigraphic sequences were microscopically identified, and the pictorial layers were discriminated on the basis of optical features, elemental compositions, and mapping. Organic components were detected by FTIR as lipids and proteinaceous compounds for binders, while terpenic resins were detected as varnishes. Accordingly, PY-GC/HRMS identified siccative oils, animal glue, egg, and colophony. The results allowed the identification of the painting techniques used for the pictorial films and the ground preparation layers and supported the distinction between original and repainting layers. The results of this multi-analytical approach provide insights into Baroque wooden sculpture in Southern Italy and offers information to support restorers in conservation works.

The artificial generation of text by computers has been a field of study in computer science since the beginning of the twentieth century, from Markov chains to Turing tests. This has evolved into automatic summarization and marketing chatbots. The generation of literary texts by Large Language Models (LLMs) has also been an area of scholarly inquiry for over six decades. The literary quality of AI-generated text can be evaluated with GrAImes, an evaluation protocol grounded in literary theory and inspired by the editorial process of book publishers. This evaluation can also be framed as part of broader editorial practices within publishing, emphasizing both theoretical grounding and applied assessment. This protocol necessitates the involvement of human judges to validate the texts generated, a process that is often resource-intensive in terms of both time and financial investment, primarily due to the specialized credentials and expertise required of these evaluators. In this paper, we propose an alternative approach by employing LLMs themselves as evaluators within the GrAImes framework. We apply this methodology to assess human-written and AI-generated microfictions in Spanish, to five PhD professors in literature and sixteen literary enthusiasts, and to short stories in both Spanish and English. By comparing the evaluations performed by LLMs with those of human judges, we examine the degree of alignment and divergence between both perspectives, thereby assessing the feasibility of LLMs as auxiliary literary evaluators. Our analysis focuses on the alignment of responses from LLMs with those of human evaluators, providing insights into the potential of LLMs in literary assessment. The conducted experiments reveal that while LLMs cannot be regarded as substitutes for human judges in the evaluation of literary microfictions and short stories, with a Krippendorff’a alpha reliability coefficient less than 0.66, they can serve as a valuable tool that offers an initial perspective on the editorial quality of the texts in question. Overall, this study contributes to the ongoing discourse on the role of artificial intelligence in literature, underlining both its methodological constraints and its potential as a complementary resource for literary evaluation.

The article studies the ideology of Phan Chau Trinh - a representative historical figure in Vietnam at the beginning of the 20th century, with progressive views on ethical reform and national cultural revitalization at that time. Based on an analysis of the core concepts of Phan Chau Trinh's ethical ideology, this article explores the application of these ideas in the current moral education context in Vietnam. Grounded in the theoretical framework of American philosopher Martha C. Nussbaum, this article employs a combination of historical-logical analysis, comparative study, synthesis, and practical investigation. The results form the fundamental directions for moral education in Vietnam, which are comprehensive human training with traditional virtues while open to the moral wisdom of humanity at large; and promoting democratic spirit and critical thinking through liberal education. Given the current status of lifestyle and ideals of young Vietnamese, the article affirms the relevance of Phan Chau Trinh’s ideology as a foundation for ethical pedagogy. Its application holds significant potential for improving educational efficiency and training a new generation of citizens equipped to thrive in a globalized world.

The supply of experimental materials greatly influences the practice of science. Before the establishment of modern commercial distribution systems for experimental materials, researchers often used mundane substances. The wires of the harpsichord, a representative keyboard instrument of the Baroque era, were used as “multifaceted materials” in physical and chemical experiments from the eighteenth to the nineteenth centuries. Because the wires were made of largely pure iron, they were utilised as a standard substance in permanganometry until their impurities proved experimentally problematic. Although the early wires gradually disappeared from chemical experiments around the beginning of the twentieth century, they were reincarnated as steel wires with the advent of the modern harpsichord and reemerged as actors on the musical stage in the context of Neoclassical music. As a result of shifting practices in the use of harpsichord wires, the concept of a standard substance in titration gradually took shape at the intersection of the histories of science and music.

The first applications of mescaline in psychiatry: The case of Madame Louise Françoise R. and its contemporary relevance.

The nosology of addiction as a medical condition: a concise history and review of contemporary perspectives.

This ecological time-series study analysed tuberculosis (TB) mortality trends in the Americas from 2000 to 2019 using data from the Pan American Health Organization. Age-adjusted mortality rates by country and sex were assessed with Joinpoint regression to estimate annual percentage changes. Results showed a general decline in TB mortality, with average annual reductions of -2.3% in men and -1.9% in women. Brazil, Colombia, and Canada exhibited continuous decreases, while Saint Lucia, Jamaica, and Honduras had episodes of increase or fluctuation. The highest mortality rates persisted in Bolivia, Mexico, Nicaragua, Honduras, and Peru. Regional analyses indicated periods of trend stabilisation, especially in Central and South America during the latter years. Despite overall progress, significant disparities by region and sex remain, reflecting complex social, economic, and healthcare factors. Strengthening surveillance systems and tailoring interventions to specific local contexts are crucial for further reducing TB mortality across the continent.