Famous Names Research Articles

Digitization of the historical Herrenhausen Herbarium at Göttingen (GOET), with special focus on plants collected in Switzerland in 1820

AbstractThree generations of the Wendland family, Johann Christoph Wendland (1755–1828), Heinrich Ludolph Wendland (1792–1869) and Hermann Wendland (1825–1903), were outstanding court gardeners at the Royal Gardens of Herrenhausen (Hanover, Germany). The “Wendlands” not only enriched the botanical diversity of the gardens through plants obtained in exchange, purchased or collected during their own journeys, but they also achieved a good scientific reputation by publications on diverse botanical themes including the description of new taxa. Moreover, there exists a herbarium of approximately 16,600 plant specimens related to these gardens, the Wendlands and their publications. Numerous papers dealing with the Wendlands and the Royal Gardens of Herrenhausen have been published. The Herrenhausen Herbarium, however, also known as the Wendland Herbarium, which was donated to the University of Göttingen in 1969, was so far neither digitized nor revised. Here, we describe the history and the current digitization of this herbarium, which includes specimens collected between 1780 and 1857. It consists of three major parts: the Herrenhausen Herbarium arranged according to the Linnaean System (13,035 specimens), the palm collection (1069 specimens) and smaller collections (specimens collected by Hermann Wendland in Central America, collections of Carl Hoffmann from Costa Rica and a part of Jakob Friedrich Ehrhart's herbarium, who was a student of Linnaeus; approximately 2500 specimens). The systematic digitization of this historical herbarium as a whole revealed a seemingly unconventional arrangement of the specimens, which we explain here for the correct interpretation of collection data. Furthermore, and despite the meagre information on the herbarium labels, we were able to identify 260 specimens from a trip of Heinrich Ludolph Wendland to Switzerland in 1820. By comparing the specimen labels with entries in his diary and travel report, we were able to retrace detailed information on localities and dates, providing historical biodiversity information. Also, the historical identification of these specimens was revised. A list of collectors represented in the Herrenhausen Herbarium is provided, which includes famous names such as Linnaeus and his students Afzelius, Bergius, Ehrhart, Schreber, and Thunberg.

The Teaching Archive: A New History for Literary Study by, Rachel Sagner Buurma and Laura Heffernan

Reviewed by: The Teaching Archive: A New History for Literary Study by, Rachel Sagner Buurma and Laura Heffernan Ana Quiring Sagner Buurma, Rachel, and Laura Heffernan. 2021. The Teaching Archive: A New History for Literary Study. Chicago and London: The University of Chicago Press. $95.00 hc. $30.00 sc. 320 pp. Rachel Sagner Buurma and Laura Heffernan's The Teaching Archive: A New History for Literary Study is an ambitious new disciplinary history that reframes the study of literature through its pedagogy. Built on exhaustive and wide-ranging archival research, this monograph traces major methodological developments in literary studies through their manifestations in the classroom. By locating the origins of disciplinary lodestars from New Criticism to the digital humanities in their classroom lives, Sagner Buurma and Heffernan revise conventional wisdom about strict hierarchies of intellectual value in those fields. The result is an illuminating refiguring of the discipline, one that follows scholarly ambitions to their interpersonal, workaday implementations. In their emphasis on pedagogy, Sagner Buurma and Heffernan aim to deflate longstanding intellectual battlegrounds. Rather than reiterating conventional wisdom about the wars between scholars and critics, formalists and historicists, or Marxists and psychoanalysts, the authors explore teacherly archives that demonstrate the integration of many methods of literary analysis in the classroom. In a related move, they identify longer histories for many disciplinary developments we perceive as newfangled. Women instructors like Caroline Spurgeon and Josephine Miles, they write, used [End Page 163] the classroom as the original digital humanities supercomputers. J. Saunders Redding, the first endowed Black professor of literary criticism in the Ivy League, introduced Black authors into his survey syllabi long before the advent of critical race studies in the 1970s. Each revelation arrives with abundant archival evidence—syllabi, lesson plans, dedications to students, course descriptions, and worksheets—that have rarely been read before. In consequence, The Teaching Archive gives an abundant and heterogenous history of the discipline. The compilation of this vast pedagogical archive ultimately produces an antihegemonic argument as well. Sagner Buurma and Heffernan follow discipline-defining teaching far outside the confines of Oxbridge and the Ivy League. Many pedagogues shaped the future of literary studies in community colleges, women's colleges, and historically Black colleges. Even T. S. Eliot, the most famous name here, derived the inspiration for his canon-forming scholarship from his time teaching working-class adult students at Yorkshire and London extension schools. Foregrounding these figures supplies highly straightforward form of political argument; turning to the teaching archive in the most open-ended way produces a far more diverse and decentralized discipline than many existing studies allege. The Teaching Archive's seven chapters take the reader chronologically through seven decades of the twentieth century, featuring one or two teachers in each chapter. The first chapter, on English early modern scholar Caroline Spurgeon, benefits from Spurgeon's elegantly bound teaching notes. Spurgeon's work reinforces one of the authors' primary arguments, that the classroom is the primary site of critical meaning-making. "Spurgeon and others like her," they write, "invited their students to plunge into the center of scholarly research by reading and interpreting the sources for themselves" (28). Spurgeon also presaged data collection in the digital humanities by recruiting her students to help her collect all of Shakespeare's metaphors into her last book, Shakespeare's Imagery and What it Tells Us. This work demonstrates her interest in making this most canonical writer, "temporarily, into an everyday man walking around in the world" (39). Subsequent chapters on Eliot, I. A. Richards, and Edith Rickert explore the development and testing of canonical texts in the classroom. The Teaching Archive considers Eliot's perhaps surprising receptiveness to his students' interests, as he amended his syllabi to [End Page 164] pursue their preferred texts. Richards, for his part, experimented with the teaching of literary judgment and evaluation, "how to read a poem and judge its merits" (67). Rickert taught her students to use quantitative methods on classic poetry, graphing scansion and imagery, placing her in continuity with the quantitative methods put forth by Spurgeon. The Teaching Archive moves into midcentury with the fourth chapter on J. Saunders Redding. He responded to many decades of segregated reading...

Moderna umetnost i scenski kostim - slučaj Dragiljevog Ruskog baleta

Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse, and Giorgio de Chirico. And with them, the design of scenography and costume design took the form of cubism, fauvism, futurism, surrealism, and other avant-garde movements, while refreshing the themes, which overall influenced ballet to become part of popular culture.

A Parodic Tale in “Sovy” (Soviet Texts) by D. Prigov

The article aims to study D. Prigovs series of prose texts Sovy (Soviet texts) artistic subtleties as a conceptualist work. The author of the article analyzes genre and style modifications owing to use of parodic stylization. The research exemplifies how a fairy tale, epic, legend, anecdote, hagiography are modified by the Soviet myth content, whereas creating a quasi-history. Historical characters, politicians, poets and writers, mythologized by ideology and commonplace consciousness in the Sovy, are presented as cultural and progenitor heroes. Life journey of characters, cultivated by the Soviet myth, is often depicted according to the hagiographic canon. The mask of a storyteller/propagandist is the starting point of folklore stylizations and parody imitations of the Soviet art in the Sovy series. Parodic tale was crafted by mimicking folklore and journalistic styles, their hybridization at the lexical-grammatical and rhythmic-syntactic levels. Styles, genres and masks mocking in D. Prigovs Sovy series is examined at the methodological perspective of text narratological analysis for the first time, thus emphasizing the studys novelty and relevance. The author of the article concludes that D. Prigov deconstructs Soviet mythologems, showcasing transformations of a myth to an anecdote, a famous name into an empty sign, a story into a simulacrum.

An Analytical Study of Method & Style of Seerat Rasool-e-Arabi

سیرت رسول عربی ﷺ(از نور بخش توکلی)کے منہج و اسلوب کا تجزیاتی مطالعہ
 The topic of ‘Sacred role (Seerat)’ with the affinity of the Rasool (saw) having significance, status and vast acceptance is undoubtedly beyond expression. If we make analysis of a religious literature, we find most of its part consisting on such topics that are directly affiliated with the silent features of the personality of the Rasool (saw). In storehouse of knowledge and architecture of the world ‘Art of Sacred role’ has attained its prominent supremacy. The beginning of this art was based on the details of Ghazwat in Islam but with the passage of time, it was enlarged in such a way that a great piece of literary work on ‘Sacred role’ has been pin pointed in sub-continent. Many literate of persona put forth their pens on this topic out of whom Noor Bakhsh Tawakli is also the most famous name who wrote a with title of “Seerat Rasool-e-Arabi” on the personality of Rasool. The expression of the affection and following of the Rasool (saw) by Noor Bakhsh Tawakli is expressed by the leaves of this book. He is best known for his popular for this book which has its own status in this field. He wrote the book in the era during which the western civilization had strangled the youth of that time. Materialism was in its climax. A great piece of strife was being made to disintegrate the true bond of affection and following of the Rasool (saw) but the profundity of learning, recognition of knowledge, strict eye on the present condition of that time and the salient factors of love of the Rasool (saw) were quite dominant in this book. The leaves of which were enriched with the florescence of love and affection of Rasool(saw).

A Proportional Sentiment Analysis of MOOCs Course Reviews Using Supervised Learning Algorithms

When anyone is looking to enroll for a freely available online course so the first and famous name comes in front of the searcher is MOOC courses. So here in this article our focus is to collect the comments by enrolled users for the specified MOOC course and apply sentiment analysis over that data. The significance of our article is to introduce a proficient sentiment analysis algorithm with high perceptive execution in MOOC courses, by seeking after the standards of gathering various supervised learning methods where the performance of various supervised machine learning algorithms in performing sentiment analysis of MOOC data. Some research questions have been addressed on sentiment analysis of MOOC data. For the assessment task, we have investigated a large no of MOOC courses, with the different Supervised Learning methods and calculated accuracy of the data by using parameters such as Precision, Recall and F1 Score. From the results we can conclude that when the bigram model was applied to the logistic regression, the Multilayer Perceptron (MLP) overcomes the accuracy by other algorithms as SVM, Naive Bayes and achieved an accuracy of 92.44 percent. To determine the sentiment polarity of a sentence, the suggested method use term frequency (No of Positive, Negative terms in the text) to calculate the sentiment polarity of the text. We use a logistic regression Function to predict the sentiment classification accuracy of positive and negative comments from the data.

Customer satisfaction in Luxury Hotels in Hong Kong: Investigate the role of service quality

Hong Kong is a tourist hub with a famous name tag “Asia’s World City”. Hong Kong attracts variety of consumers from all around the world and the tourism industry needs the research the factors that are affecting customer satisfaction in Hong Kong luxury hotel industry. This study proposed a SEM to find out the relationship among perceived quality, service quality, tangibles, reliability, responsiveness, assurance, empathy that affecting customer satisfaction in Hong Kong luxury hotels. The research framework of this study consist of three constructs including perceived quality, service quality, and customer satisfaction. Seven hypotheses are proposed to study and four hypotheses are accepted. Three hypotheses are rejected and to have no significant relationship with customer satisfaction in this study. At last, the relationship among seven hypotheses effects on customer satisfaction are discussed and suggestions for unsupported hypotheses in context of enhancing customer satisfaction in Hong Kong luxury hotels are discussed as well.

Extracting Data at Scale: Machine learning at the Natural History Museum

The Natural History Museum holds over 80 million specimens and 300 million pages of scientific text. This information is a vital research tool to help solve the most important challenge humans face over the coming years – mapping a sustainable future for ourselves and the ecosystems on which we depend. Digitising these collections and providing the data in a structured, computable form is a mammoth challenge. As of 2020, less than 15% of available specimen information currently residing on specimen labels or physical registers is digitised and publicly available (Walton et al. 2020). Machine learning applications can deliver a step-change in our activities’ scope, scale, and speed (Borsch et al. 2020). As part of SYNTHESYS+, the Natural History Museum is leading on the development of a cloud-based workflow platform for natural science specimens, the Specimen Data Refinery (SDR) (Smith et al. 2019). The SDR will provide a series of Machine Learning (ML) models, ranging from semantic segmentation to identify regions of interest on labels, to natural language processing to extract locality and taxonomic text entities from the labels, and image analysis to identify specimen traits and collection quality metrics. Each ML task is atomic, with users of the SDR selecting which model would best extract data from their digitised specimen images, allowing the workflows to be used in different institutions worldwide. It also solves one of the key problems in developing ML-based applications: the rapidity at which models become obsolete. New ML models can be introduced into the workflow, with incremental changes to improve processing, without interruption or refactoring of the pipeline. Alongside specimens, digitised images of pages of scientific literature provide another vital source of data. Functional traits mediate the interactions between plant species and their environment and play roles in determining species’ range size and threatened status. Such information is contained within the taxonomic descriptions of species and a natural language processing library has been developed to locate and extract plant functional traits from these texts (Hoehndorf et al. 2016). The ML models allow complex interrelationships between taxa and trait entities to be inferred based on the grammatical structure of sentences, improving the accuracy and extent of data point extraction. These two projects, like many other applications of ML in natural history collections, are focused on the extraction of visible information, for example, a piece of text or a measurable trait. Given the image of the specimen or page, a person would be able to extract the self-same information. However, ML excels in pattern matching and inferring unknown characters from an entire corpus. At the museum, we have started exploring this space, with our voyagerAI project for identifying specimens collected on historical expeditions of scientific discovery (e.g., the voyages of the Beagle and Challenger). This process fills in the gaps in specimen provenance and identifies 'lost' specimens collected by some of the most famous names in biodiversity history. Developing new applications of ML to uncover scientific meaning and tell the narratives of our collections, will be at the forefront of our scientific innovation in the coming years. This presentation will give an overview of these projects, and our future plans for using ML to extract data at scale within the Natural History Museum.

FUNCTIONING OF OYCONYMS AND URBANONYMS IN AN EPIC NARRATIVE

Objective. The objective of the article is to study the principles and specifics of functioning oyconyms and urbanonyms in the epic narration as a part of the lexical-semantic system of the language. Methods. The main scientific results are obtained by an onomastic method, extralinguistic analysis, structural-paradigmatic and lexical-semantic analysis. The cognitive method states in the urbanonymic paradigm the key functional features of urban names in the epic and song-epic narration. Results. The toponyms and their varieties are found under the influence of fiction of ancient epics, ballads and folk songs, as well as chronicle and chronicle literature. But in the epic text, attention to the epic event and imidge is often more important than chronological accuracy, because in the epic narration the time is subordinated to the artistic aspect. The medieval epics differs from the chronicle narration, which must be documented. In the ballad the name acts as a poetonym (symbol) and at the same time functions as a deixis, which indicates historical events and manifests as a chronological marker of action. In epic text the oyconyms and urbononyms act as signs of ancient culture, take on the function of the coordinates of the medieval locus. They acquire in the literary text the meaning of toponymic and oyconymic concepts. Famous place names act as artistic symbols, at the same time confirming historical facts, battle scenes, etc. Toponyms are involved in the formation of historical-geographic and landscape-geographic descriptions, influence the mention politics, economics, trade, culture, specialties of business, identify the function of documenting text, linking to the locus. In the literary context is the medieval interest to linking urban area with names and including toponyms that mark the historical and discursive space and form new lexical and semantic fields. They themselves create a lyrical tonality and special atmosphere, in which the historical theme is similar to literary and poetic ones.

Word and Face Recognition Processing Based on Response Times and Ex-Gaussian Components.

The face is a fundamental feature of our identity. In humans, the existence of specialized processing modules for faces is now widely accepted. However, identifying the processes involved for proper names is more problematic. The aim of the present study is to examine which of the two treatments is produced earlier and whether the social abilities are influent. We selected 100 university students divided into two groups: Spanish and USA students. They had to recognize famous faces or names by using a masked priming task. An analysis of variance about the reaction times (RT) was used to determine whether significant differences could be observed in word or face recognition and between the Spanish or USA group. Additionally, and to examine the role of outliers, the Gaussian distribution has been modified exponentially. Famous faces were recognized faster than names, and differences were observed between Spanish and North American participants, but not for unknown distracting faces. The current results suggest that response times to face processing might be faster than name recognition, which supports the idea of differences in processing nature.

The Protection of Celebrity Name in China: After the ‘乔丹’ Case by the SPC of China

The Supreme People’s Court (SPC) case of ‘乔丹’, brought by Michael Jordan against Qiaodan Sports, is a landmark case over the protection of the right to the personal name in the People’s Republic of China (PRC). In the retrial proceeding, the SPC gave eight exhaustive explanations to the disputed questions and eventually reversed the lower court’s decision. After studying the judgment, this article finds that a famous foreign name can be protected by Chinese Trademark law only when it satisfies three conditions: First, the specified name enjoys a certain popularity in China and is well-known to the concerned public; second, the concerned public uses the specified name to refer to the original person of that name; and third, there has already been a stable match between the specific name and the original person of that name. Although China mainly adopts the “right to name” for the legal protection of celebrity names, the right to name is a kind of personal right, difficult to protect economic benefits derived from celebrities’ names fully. Comparing Germany’s extended protection model of personality rights and the United States model of “right of publicity,” this article suggested that China tries to introduce the United States model to protect the celebrity name’s right.

The Influence of Prior Knowledge on Memory and Metamemory for Famous Names and Faces

Abstract. Two experiments examined the effect of prior knowledge on memory and metamemory for names and faces using famous 1960s and 2000s actors as the manipulation of prior knowledge. In Experiment 1, 66 participants studied the names of famous actors, half presented with their faces, with instructions to remember only the names. In Experiment 2, 56 participants studied the faces of these actors, half presented with their names, with instructions to remember only the faces. In both experiments, participants made immediate Judgments of Learning (JOLs) for each to-be-remembered stimulus followed by a test of recognition that used a Recollect/Familiar/No-Memory judgment. We found higher JOLs, recognition memory, and JOL accuracy for 2000s actors. Adding a name to a face or a face to a name increased JOLs while paradoxically decreasing memory. Back-sorting and binning analyses converged on the conclusion that immediate JOLs predicted memories accompanied by recollection but not familiarity.

Breakthrough percepts of famous names

Studies have shown that presenting own-name stimuli on the fringe of awareness in Rapid Serial Visual Presentation (RSVP) generates a P3 component and provides an accurate and countermeasure resistant method for detecting identity deception (Bowman et al., 2013, 2014). The current study investigates how effective this Fringe-P3 method is at detecting recognition of familiar name stimuli with lower salience (i.e., famous names) than own-name stimuli, as well as its accuracy with multi-item stimuli (i.e., first and second name pairs presented sequentially). The results demonstrated a highly significant ERP difference between famous and non-famous names at the group level and a detectable P3 for famous names for 86% of participants at the individual level. This demonstrates that the Fringe-P3 method can be used for detecting name stimuli other than own-names and for multi-item stimuli, thus further supporting the method's potential usefulness in forensic applications such as in detecting recognition of accomplices.

A Critical Analysis of Heart Diseases Research Literature Based on the Scopus Database during the Period 2009-2018

The study aims to examine heart diseases research productivity during 2009-2018as indexed in the Scopus database. The study examines various scientometric parameters. It was found that a total of 5056 publications received 65165 citations and the maximum 645 publications were came in the year 2016. The relative growth rate (RGR) was shown in decreasing trends (0.85 to 0.14) while the Doubling time (Dt) is depicted in increasing trends (0.81 to 5.34) during the period of study. The average degree of authors’ collaboration, collaboration coefficient and the collaborative index was recorded (0.98), (0.77) and (4.70) respectively. Saxena, A was the most productive author from All India Institute of Medical Sciences (AIIMS) New Delhi with 55 publications in heart diseases research; 29 h-index and a total 3608 citations, followed by Talwar, S with the same institution contributed 50 research papers; 17 h-index; and 1407 citations and All India Institute of Medical Sciences, New Delhi is also most productive institution with 431 contributions published in Indian Journal of Pediatrics, followed by Postgraduate Institute of Medical Education and Research with 175 contribution. Medicine is the most famous subject area in heart diseases research with 3401 publications, followed by Biochemistry, Genetics and Molecular Biology with 857 publications. The most significant keywords are Human in 3695 publication, followed by Article keyword in 2787 publications. Indian Heart Journal was the most popular journal with 208 publications and the journal cite score was (0.79), followed by Journal of Clinical and Diagnostic Research with 153 publications while the particular journal cites score is (0.86). The most famous funding agency name is Indian Council of Medical Research (ICMR) with 68 publications, followed by National Institute of Health (NIH) with 32 contributions from the marked period of study.

More Life After Ruins: Autotheory, the Politics of Citation, and the Limits of The Scholarly Gaze

More Life After Ruins:Autotheory, the Politics of Citation, and the Limits of The Scholarly Gaze Leila C. Nadir (bio) A reflection on my autotheoretical essay, "Life After Ruins: Ruderal Ecologies, Afghan Diaspora, and Another Anthropocene," published in ASAP/J on September 27, 2019. "A name makes reading too easy." A famous philosopher, who wanted to remain anonymous, said this in a now-famous interview. He withheld his name "out of nostalgia for a time when, being quite unknown, what I said had some chance of being heard." He dreamed of a year of "anonymous books," published with no authors' names attached, but he knew this would do no good: critics don't truly want to read, he said, so they would ignore this year of difficult books. Traditional academic scholarship and many forms of autotheory traffic in names. My introduction here is more powerful, more authoritative, more readable, more useful, because I might reveal a famous name. If you know the name I'm talking about, I've just established my theory bona fides. If you don't know, pay attention and you may accumulate a smidgeon of capitalizable gains in the pillaging competition that has become neoliberal academia. Autotheory simultaneously participates in, and disrupts, this hackneyed holy practice. And that is what excites me, and concerns me, about the turn toward autotheory. Autotheory has been an evolution of selfdiscovery for me, a recognition that my experiences as an Afghan-American from an immigrant Muslim family matter, that my own life is in dialogue with the most lauded names and ideas of our time. It's been a way for me to find my way back into academic practices that have alienated me, after I retreated from traditional scholarship to become an artist and creative writer. It has been a redemption of some kind—a way to speak back to the academic managers, editors, and administrators bestowed with the power to monitor the boundaries of what counts as scholarship, the academic employees that, [End Page 547] through the subtleties of institutional protocols and policies, work (often unknowingly) to exclude and invisibilize racialized Others who cannot conform to so-called detached, professional objectivity without erasing our bodies and experiences and ways of inhabiting the world. Now, if I cite enough famous names, perhaps I can be published and heard. Perhaps. And this is what concerns me about autotheory. When I read works like Saidiya Hartman's Lose Your Mother or Maggie Nelson's The Argonauts, or when I pen my own personal essays injected with critical theory, I'm hopeful that we are producing an antidote to the parochial understandings of intellectual work passed off as R1 rigor. But I wonder, in this merger of the personal and the critical, the aesthetic and the philosophical, would we be taken as seriously without the citation of authoritative names? What if Nelson left out the theorists in the page margins of Argonauts? Or if Hartman deleted the endnotes that anchor her memoir in critical theory? (I do love how Nelson and Hartman relegate the authorities to the periphery.) What if my essay "Life After Ruins," published on ASAP/J, hadn't mentioned James Baldwin, Toni Morrison, Donna Haraway, Henry Thoreau, and Sun Ra? Would the story of my embodied experiences of living in the post-Cold War Afghan diaspora, and how they relate to my environmental art practices, be as digestible or useful? Would I truly be read? What if I hadn't articulated my ideas in relation to the concept suddenly invigorating the Environmental Humanities, the one and only Anthropocene, or the emergent discourse on Ruderal Ecologies, introduced by Bettina Stoetzer into Anthropology? "Life After Ruins" was an explanation of my creative artworks, which so many critics hadn't taken the time to read until I pulled in the names. Like the famous masked philosopher said, readers don't read until they see road signs announcing that these pages have referenceable merit, that they are collecting fractionated shares of academic capital. Would we, as autotheorists, be taken as seriously without trading in the stock market of names? Yet I also feel that what we are doing is a reclamation: hacking academic...

Identifying a “Chicago School” of Economics: On the Origins, Diffusion, and Evolving Meanings of a Famous Brand Name

Identifying a “Chicago School” of Economics: On the Origins, Diffusion, and Evolving Meanings of a Famous Brand Name

Переможці Олімпійських ігор другої половини ХХ століття: історія і сучасність Луганської області

The article presents little-known facts about the achievements of the winners of the Olympic Games of Luhansk region in the second half of the twentieth century. Historical data provided an opportunity to fully explore sports traditions and in the historical context to mention the famous names of participants and winners of the Olympic Games of Luhansk region. In the course of the research it was established that the starting point for the Luhansk region at the Olympic Games can be considered Rome, where Valery Brumel won the first medal. It is proved that Luhansk region is famous for its ancient sports traditions. The names of participants and prize-winners of the Olympic Games of our region are known all over the world. They won gold, silver and bronze medals at the Olympic Games. It is established that the golden pages in the annals of sports of the Luhansk region were written by participants and prize-winners of the Olympic Games. Most of our compatriots continued their sports activities as coaches. It was found that Luhansk region actively involves the younger generation in the implementation of all-Ukrainian NOC projects and implements its own activities, such as «Brain Ring – Luhansk Olympic» or cognitive quiz «Sports Country» among preschools in the region. Despite all the difficulties – the difficult situation in Luhansk region and around the world, Luhansk region has a glorious Olympic tradition. The training base in Kreminna is described, where many Olympic champions and sports stars have been preparing and continue to train for their Olympic triumphs in different years. It is established that now the representatives of Luhansk region have won 3 Olympic licenses to participate in the XXXII Olympic Games in Tokyo – two in diving and one in gymnastics.

Bach’s Famous Choir: The Saint Thomas School in Leipzig, 1212–1804 by Michael Maul

Reviewed by: Bach’s Famous Choir: The Saint Thomas School in Leipzig, 1212–1804 by Michael Maul Mark Nabholz Bach’s Famous Choir: The Saint Thomas School in Leipzig, 1212–1804. By Michael Maul. Translated by Richard Howe. Woodbridge, Suffolk: Boydell, 2018. [xviii, 394 p. ISBN 9781783271696 (hardcover), $95; ISBN 9781787444362 (e-book), $24.99.] Appendixes, endnotes, bibliography, indexes. There is no shortage of well-known sources that delve into Johann Sebastian Bach’s famed tenure as cantor at Leipzig’s St. Thomas School. But we must pass the halfway point in Bach’s Famous Choir before that inescapable name appears as more than a passing reference, because, despite the book’s title, this is the school’s story, and the school was over five centuries old by the time Bach arrived as cantor in 1723. Using previously neglected sources, including many long believed to be lost, Michael Maul’s meticulous research releases an avalanche of detail that sometimes threatens to overwhelm the larger narratives, but from a myriad of data points he skillfully constructs a three-dimensional picture of life at the St. Thomas School over a span of nearly six centuries. His research launched by a question concerning Bach (“Why would any leader of a famous court orchestra want to resign a position working with professional musicians in order to take a job with a municipal boy’s school and the ‘dusty robes’ of a cantor?” [p. 1]), Maul traces the transformation of the school from its local monastic beginnings to its sometimes tenuous perpetuity as the exemplary music school renowned throughout the German-speaking lands, the gradual transfer of the school’s oversight from church to civic authorities, and the impact of the Lutheran reforms on its role in the life of the city. And yet he manages to do so in a way that transforms the dry accounts in many of his sources into an [End Page 62] unmistakably human story with living, breathing personalities. While Maul’s painstaking research convolutes through a tangle of minutia—such as the payment for meals served to boarding students; the salaries of the cantor, junior faculty, and tutors along with the inevitable pay-equity conflicts; the negotiations regarding distribution of income generated from street singing and funeral music; and the recurring debate over who held the final authority on boarding-school admission decisions— he manages to present in Bach’s Famous Choir a coherent and lively chronology of the pre- and post-Bach cantors at a level of detail never before attempted in a single volume. His writing style is engaging and even at times entertaining, as is readily apparent in his account of Cantor Johann Hermann Schein running afoul of the magistrates in Dresden for an unacceptably ostentatious musical display at the wedding of the Leipzig Mayor’s son (pp. 44–46). As a result of this careful chronicling, themes emerge that have immediate currency. The account of the drastic reduction in funding for the school and its music because of the city’s crippling debt, brought on by “extravagant outlays in all directions, rampant nepotism and cronyism, and borrowing to finance many of its undertakings,” reads like the headlines in this morning’s paper (p. 50). It is enlightening and strangely heartening to learn that Johann Kuhnau, who served as cantor from 1701 to 1722, faced funding issues during his tenure, similar to those that church and educational musicians face today, when the town council ended funding of instrumentalists and sought to know how to obtain their services at no cost (p. 115). In retrospect, one of the most significant takeaways from my reading is the number of extraordinary musicians who were contemporaries of the famous names but now are entirely forgotten. It is our loss, for instance, that we know so little of Sebastian Knupfer, who became cantor in 1657 at age twenty-three and whose funeral invitation in 1676 characterized him as a musician “the likes of whom had never before been seen in Leipzig and presumably will never be seen again” (p. 118). Or Johann Rosenmüller (1617– 1684), in whom his patron, Heinrich Schütz, placed such firm confidence that he not only...

George Alexander and the Work of the Actor-Manager by Lucie Sutherland

Reviewed by: George Alexander and the Work of the Actor-Manager by Lucie Sutherland Sarah Chambré Lucie Sutherland. George Alexander and the Work of the Actor-Manager. Palgrave Macmillan, 2020. xiii+297 pp., $84.99 (hardback). Examining theater history and cultural practice, Lucie Sutherland provides in this work of forensic scholarship a many-faceted portrayal of George Alexander, one of the last great figures to occupy the role of actor-manager, which dominated and shaped the English stage from Richard Burbage's tenure of Shakespeare's Globe (1599-1613) through David Garrick's creation of the Garrick Theatre (1747-76) and continued with an array of famous names until the early decades of the twentieth century. Like his predecessors and peers, Alexander combined the roles of principal actor, producer, and financial director as actor-manager of the fashionable St. James's Theatre from 1890 until his death in 1918. Sutherland's detailed analysis of the financial and practical aspects of this management arrangement underpins a nuanced portrayal of Alexander's championing of new English drama with a constant assessment of its appeal to his diverse audience, segregated by class and ticket price. This book describes how Alexander's commitment to contemporary texts, nurturing of a new audience, and manipulation of their tastes by the creation of a St. James's brand was tempered by conservatism. This was partly innate, partly due to censorship but mostly the result of a cautious guardianship of his brand, defined with a careful and highly attuned eye to the fashionable occupants of the stalls and dress circle. Sutherland delineates the elements that contributed to this management style and challenges the image of Alexander as a rigid autocrat with particular attention to his collaboration with actors and playwrights. His emerging style and openness to serious new drama was shifted significantly by the events of 1895, of which Henry James's short lived drama Guy Domville (1895) was only one. Sutherland details the financial imperatives and the portfolio approach to Alexander's risk management. Increasingly, the actor-manager interspersed new works with revivals, safe romances, and market-tested offerings such as acknowledged authors or works that had premiered elsewhere. The need for long runs and this conservatively managed collaboration, exemplified by but not exclusive to Alexander, led by the [End Page E-8] time of the opening years of the twentieth century to a bifurcated marketplace—as the critic Dennis Kennedy describes it: "avant-garde suspicion of popular success eventually split [the market place] into two parts: the larger part got the audience but little lasting attention. The smaller part the critical and historical acclaim" (146). In many respects, the representative history so well reconstructed here mirrors the shifts in literary book publishing over the same period. In this history, James arguably placed himself in the wrong market for his work, although the successes of pioneers Oscar Wilde and Arthur Wing Pinero in the early 1890s might have seemed to augur otherwise. Sutherland's book is not primarily about James's play, which was only a brief episode in Alexander's career. He is quoted as reminiscing in 1909 about Guy Domville that "I was, and always shall be, proud, in spite of that particular audience's adverse verdict. It had a fair run, which satisfied me, for it attracted to the St James's that whole of intellectual London's audiences available for any theatre" (45). The author accepts the standard critical viewpoint that the construed failure was due to "the limited dramatic possibilities of James's text." The detailed scholarship contained in this book is nevertheless very useful for Jamesians interested in a re-evaluation of the play and consideration of its limited run in the context of Alexander's practice. The creation of the St. James's brand relied on elaborately realistic and spectacular staging, which entailed high fixed costs for a production, and success was thus reliant on long runs to create profit. The stratified audience composition meant that a play must have broad appeal, something that Guy Domville failed to offer. Sutherland demonstrates that rehearsal time was limited and that Alexander focused on choreography and mise-en-scène rather than dialogue...

Династия Васнецовых: малые детали большого наследия

The article is devoted to the study of the cultural trace of the Vasnetsov family on the Kuban land, represented by artists (Yury A. Vasnetsov, Elizaveta Yu. Vasnetsova), career soldiers (Nikolai A. Kuznetsov) and teachers (Elena N. Shcherbakova). Based on publications, archival materials stored in the fund of the Krasnodar F. Kovalenko Regional Art Museum, as well as their own findings, the authors restore the once-forgotten connections of the famous name with the city of Yekaterinodar (presently Krasnodar).