Тематика Контрольных Работ История 1-2 Курсов 2020-21.Pdf
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Fantastic Beasts of the Eurasian Steppes: Toward a Revisionist Approach to Animal-Style Art
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Fantastic Beasts Of The Eurasian Steppes: Toward A Revisionist Approach To Animal-Style Art Petya Andreeva University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Andreeva, Petya, "Fantastic Beasts Of The Eurasian Steppes: Toward A Revisionist Approach To Animal- Style Art" (2018). Publicly Accessible Penn Dissertations. 2963. https://repository.upenn.edu/edissertations/2963 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2963 For more information, please contact [email protected]. Fantastic Beasts Of The Eurasian Steppes: Toward A Revisionist Approach To Animal-Style Art Abstract Animal style is a centuries-old approach to decoration characteristic of the various cultures which flourished along the urE asian steppe belt in the later half of the first millennium BCE. This astv territory stretching from the Mongolian Plateau to the Hungarian Plain, has yielded hundreds of archaeological finds associated with the early Iron Age. Among these discoveries, high-end metalwork, textiles and tomb furniture, intricately embellished with idiosyncratic zoomorphic motifs, stand out as a recurrent element. While scholarship has labeled animal-style imagery as scenes of combat, this dissertation argues against this overly simplified classification model which ignores the variety of visual tools employed in the abstraction of fantastic hybrids. I identify five primary categories in the arrangement and portrayal of zoomorphic designs: these traits, frequently occurring in clusters, constitute the first comprehensive definition of animal-style art. -
Flag of Tajikistan - a Brief History
Part of the “History of National Flags” Series from Flagmakers Flag of Tajikistan - A Brief History Where In The World Trivia The colours of the flag are the same as the Iranian Flag. Technical Specification Adopted: 24th November 1992 Proportion: 1:2 Design: A red-white-green horizontal bicolour with gold crown and seven five-pointed stars at the centre. Colours: PMS Red: 192 Yellow: 109 Green: 355 Brief History In 1924 Tajikistan was a Soviet Socialist Republic called Tajik ASSR. The flag flown was a red field with hammer and sickle coat of arms in the top left corner. In 1929 the emblem was replaced with Latin and Cyrillic sans serif characters. The flag was changed again in 1953 to feature white and green horizontal bands through the centre and a golden hammer and sickle with gold-bordered red five-pointed star in the upper left corner. The Flag of the Tajik ASSR The Flag of the Tajik SSR (1924 – 1929) (1953 – 1991) During independence from the Soviet Empire in 1991 Tajikistan used the previous Tajik SSR flag sans the hammer, sickle and star as the national flag. In 1992 the colours of the flag remained the same but the design became a red-white-green horizontal tricolour with a gold crown and seven gold stars at the centre. The colours of the flag have specific meaning, the red represents unity, white is purity, green is Islam and the seven stars represent happiness. (1991 – 1992) (1992 to Present Day) The Emblem of Tajikistan The Emblem of Tajikistan was adopted in 1993. -
Prominent Tajik Figures of the Twentieth Century
PROMINENT TAJIK FIGURES OF THE TWENTIETH CENTURY by Dr. Iraj Bashiri Professor The University of Minnesota Dushanbe, Tajikistan 2002 Copyright © 2002 by Iraj Bashiri All rights reserved. No part of this book may be reproduced in any form whatsoever, by photograph or mimeograph or by any other means, by broadcast or transmission,by translation into any kind of language, nor by recording electronically or otherwise,without permission in writing from the author, except by a reviewer, who may quote brief passages in critical articles and reviews. Dushanbe, Tajikistan 2002 Acronyms and Abbreviations AIDS Acquired Immunodeficiency Syndrome BBC British Broadcasting Corporation CIS Commonwealth of Independent States CNR Commission for National Reconciliation CP Communist Party CPSU Communist Party of the Soviet Union CPT Communist Party of Tajikistan DPT Democratic Party of Tajikistan DSU Department of State Road Construction GES Hydroelectric Station (at Norak) GVAO (Russian) Gorno-Badakhshan Autonomous Region GVBK (Tajik) same as GVAO HIV Human Immunodeficiency Virus IAEA International Atomic Energy Agency IMU Islamic Movement of Uzbekistan IRPT Islamic Resurgence Party of Tajikistan KGB State Security Committee KOMSOMOL Communist Youth League KPSS same as CPSU MIRT Movement for Islamic Revival in Tajikistan MSS Manuscript MTS Machine Tractor Stations RFE/RL Radio Free Europe/Radio Liberty SSR Soviet Socialist Republic SSSR same as USSR STD Sexually Transmitted Diseases STE Soviet Tajik Encyclopedia STI Sexually Transmitted Infections Tajik -
Qasīda-Khonī a Musical Expression of Identities in Badakhshan, Tajikistan Tradition, Continuity, and Change
Qasīda-khonī A Musical Expression of Identities in Badakhshan, Tajikistan Tradition, Continuity, and Change DISSERTATION zur Erlangung des akademischen Grades Doctor of Philosophy (Ph.D) an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt-Universität zu Berlin von Chorshanbe Goibnazarov Präsidentin der Humboldt-Universität zu Berlin Prof. Dr.–Ing. Dr. Sabine Kunst Dekanin der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät Prof. Dr. Julia von Blumenthal Gutachterin/Gutachter: 1. Prof. Dr. Ingeborg Baldauf 2. Prof. Dr. Margrit Pernau Tag der mündlichen Prüfung: 10.11.2017 Table of Contents Acknowledgments .......................................................................................................................... vi Abstract ....................................................................................................................................... viii Abstract (English version) ................................................................................................................... viii Abstract (German version) ................................................................................................................... ix Abbreviations .................................................................................................................................. x Notes on Transliteration ............................................................................................................... xi Notes on the accompanying CD ................................................................................................ -
Post-Soviet Sufism: Texts and the Performance of Tradition in Tajikistan
Post-Soviet Sufism: Texts and the Performance of Tradition in Tajikistan DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Benjamin Clark Gatling Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2012 Dissertation Committee: Margaret A. Mills, Advisor Richard M. Davis Morgan Y. Liu Ray Cashman Copyright by Benjamin Clark Gatling 2012 ABSTRACT Since the dissolution of the Soviet Union and the independence of the Central Asian republics, public Islamic religiosity has proliferated; new mosques have been constructed, forms of Islamic dress newly adopted, and previously proscribed Islamic literature published. Sufi circles of adepts (halqa) are key producers of nascent religious discourse within this so-called Islamic revival. Sufis in Tajikistan have revived their performance of public ritual and adopted new texts for ritual use. These texts, many of them manuscripts long hidden from Soviet authorities, have newly entered the religious imaginations of Tajik Muslims. The focus of this study is on the specific power of these nascent textualities, the processes of their replication and dissemination, and the discursive support for entextualizing processes that historical narrative and ritual performance provide within Sufi groups in post-Soviet Tajikistan. Based on ethnographic fieldwork in Tajikistan during 2010 and 2011, this study considers how nascent religious discourse becomes authoritative and how the new hagiographic and canonization process in Central Asia operates. I argue that in Tajik Sufism there exist ongoing projects of textual canonization, historical valorization, and ii general hagiographic construction for the express purpose of legitimating the life and practices of post-Soviet Sufism after the enormity of Soviet disjuncture.