Passage Of Events Research Articles

Frontline Drawings of Ukrainian Artists of the Second World War Period

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the full-scale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy ​​Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment. Keywords: drawing, Ukrainian drawing, frontline drawing, sketch, the Second World War, portrait, landscape.

KESADARAN SEJARAH DAN NASIONALISME: PENGALAMAN INDONESIA

The teaching of history, learning focus of diversity of human experience and understanding more about themselves as individual and member of society. Knowing your self means knowing that you can do; and since nobody knows what he can do untul he tries, the only clue to what man can do is what man has done. The value of history, then, is that it theachs us what man has done and then what man is. That history is more than the passage of events whose sequence may be memorized and that the past has continuing relevance for the presents. Most simply, we all live history, and not merely in the grand sense of wars, recessions, and political reformation. Rather, we live out the assumptions of our époque in the most mundane aspects of our daily lives. Key Word: history, history consciousness, and nationalism.

British Food Journal Volume 88 Issue 4 1986

An odd‐sounding expression recently introduced into the language, derived from the passage of events, Privatization, introduced as a rescue operation for sections of public and nationalised industry to hand them over to private enterprise to avoid their destruction and smothering by the unholy wedlock of trade unionism and weak, inefficient management. It frequently met with the opposition of unions and sections of staff. Efforts have been made to sabotage the take‐over and operation of the services by private firms, occasionally making them impossible to operate. This elementary operation was expected to achieve even greater success in the sections taken over and reduced the room for destructive manoeuvring by ajitator, much of which was caused independent of the unions. In the public services some of the antics between rival factions bordered on the ludicrous.

Mustafa Kemal's Instructions (An Intercepted and Decyphered Telegram) to Bekir Sami in London-a Reassessment of the London Conference (21 February - 12 March 1921) and its Immediate Consequences

When the Greek army failed to capture Eskishehir and had to beat a retreat before the defences of İnönü in early January 1921, armed conflict gave its way to diplomacy for a while. The initiative came from the Allies, who having met in Paris on 25 January, adopted the suggestion of Count Sforza, the Italian Foreign Minister. Accordingly a conference was called in London between the Allies and the representatives of Greek and Turkish (Istanbul and Ankara) governments. The invitation underlined that the basis of talks should be the Treaty of Sevres, but subject to modifications as might have been necessitated by the passage of events.