The War to End War — the Great War
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Istitutiones Iuris” of Albanian Consuetudinary Law
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 2 ISSN 2281-3993 MCSER Publishing, Rome-Italy July 2015 “Istitutiones Iuris” of Albanian Consuetudinary Law Dr. Eugen Pepa Head of Departement of Justice, Faculty of Political Juridical Sciences, University “AleksanderMoisiu”, Durrës, Albania Email: [email protected] Doi:10.5901/ajis.2015.v4n2p337 Abstract The custom is among the sources of law, definitely, the most distant in time. Our legal tradition has been transmitted orally from generation to generation through the centuries and it bares these language elements that are considered fundamental for our people’s identity. Our society was shaped over the centuries under secular foreign occupation, and in full lack of a state authority to be represented with. Despite this, the juridical oral tradition and this kind of peculiar language managed to cross the millennia through its customs, creating and cultivating social and juridical institutions which have served to shape a collective conscience that made it possible for the modern state to be founded. Our analysis will concentrate principally in the representative values of the social belongings, creating the legal basis of the Albanian ethos and ethnos, which are always served as an autochthonous legal source. This might dispatch social justice values and human dignity. This analysis deepens its focus mainly in the strongholds of the common law; highlighting those social and legal institutions, that on our point of view have had the greatest influence in the creation of our national consciousness. Keywords: common law, legal tradition, society, institution etc. Il diritto consuetudinario è fonte giuridica universalmente presente fin dai primordi della storia umana. -
Western Performing Arts in the Late Ottoman Empire: Accommodation and Formation
2020 © Özgecan Karadağlı, Context 46 (2020): 17–33. Western Performing Arts in the Late Ottoman Empire: Accommodation and Formation Özgecan Karadağlı While books such as Larry Wolff’s The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage offer an understanding of the musicological role of Ottoman-Turks in eighteenth-century European operatic traditions and popular culture,1 the musical influence and significance going the other way is often overlooked, minimised, and misunderstood. In the nineteenth century, Ottoman sultans were establishing theatres in their palaces, cities were hosting theatres and opera houses, and an Ottoman was writing the first Ottoman opera (1874). This article will examine this gap in the history of Western music, including opera, in the Ottoman period, and the slow amalgamation of Western and Ottoman musical elements that arose during the Ottoman Empire. This will enable the reader to gauge the developments that eventually marked the break between the Ottoman era and early twentieth-century modern Turkey. Because even the words ‘Ottoman Empire’ are enough to create a typical orientalist image, it is important to build a cultural context and address critical blind spots. It is an oft- repeated misunderstanding that Western music was introduced into modern-day Turkey after 1 Larry Wolff, The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage (Stanford: Stanford University Press, 2016). 17 18 Context 46 (2020): Karadağlı the proclamation of the Republic in 1923.2 As this article will demonstrate, the intercultural interaction gave rise to institutional support, and as Western music became a popular and accepted genre in the Ottoman Empire of the nineteenth century,3 it influenced political and creative aspirations through the generation of new nationalist music for the Turkish Republic.4 Intercultural Interaction: Pre-Tanzimat and İstibdat Periods, 1828–1908 Although Western music arrived in the Empire in the sixteenth century,5 it took almost two and a half centuries to become established. -
Romanov News Новости Романовых
Romanov News Новости Романовых By Ludmila & Paul Kulikovsky №114 September 2017 Emperor Nicholas I. Watercolour by Alexander I. Klünder Monument to Emperor Nicholas I unveiled in Czech Republic September 19.TASS - A monument to Emperor Nicholas I (1825-1855) was opened in the spa town of Teplice in the north of the Czech Republic. This was announced by Consul-General of the Consulate General of the Russian Federation in Karlovy Vary (West Bohemia) Igor Melnik. "The monument to Nicholas I was erected in the very centre of Teplice next to the monuments of Peter the Great and Alexander I," he stressed. "This idea supported by local authorities, was conceived long ago, but was postponed, primarily because of the lack of necessary funds." Monuments to Russian autocrats in Teplice were created by People's Artist of Russia Vladimir Surovtsev. The patrons of the project are the organization of Russian compatriots in the Czech Republic "The Ark-Arch" and the General Consulate of the Russian Federation in Karlovy Vary. Sovereigns from the Romanov dynasty, actively implementing the idea of uniting the Slavs under the sceptre of mighty Russia on the international arena, have forever entered the history of Teplice. The Grand Duke and the future Emperor of Russia Nicholas I twice visited this city: in 1815 at the age of 19, and in 1818, when he turned 22. He took part in laying the foundation and then opening a monument to Russian soldiers who died for Europe's freedom in the struggle against Napoleon. The elder brother of Nicholas I, Emperor Alexander I, arrived in Teplice during the foreign campaigns of the Russian Imperial Army during the Napoleonic wars in 1813. -
The Forgotten Fronts the First World War Battlefield Guide: World War Battlefield First the the Forgotten Fronts Forgotten The
Ed 1 Nov 2016 1 Nov Ed The First World War Battlefield Guide: Volume 2 The Forgotten Fronts The First Battlefield War World Guide: The Forgotten Fronts Creative Media Design ADR005472 Edition 1 November 2016 THE FORGOTTEN FRONTS | i The First World War Battlefield Guide: Volume 2 The British Army Campaign Guide to the Forgotten Fronts of the First World War 1st Edition November 2016 Acknowledgement The publisher wishes to acknowledge the assistance of the following organisations in providing text, images, multimedia links and sketch maps for this volume: Defence Geographic Centre, Imperial War Museum, Army Historical Branch, Air Historical Branch, Army Records Society,National Portrait Gallery, Tank Museum, National Army Museum, Royal Green Jackets Museum,Shepard Trust, Royal Australian Navy, Australian Defence, Royal Artillery Historical Trust, National Archive, Canadian War Museum, National Archives of Canada, The Times, RAF Museum, Wikimedia Commons, USAF, US Library of Congress. The Cover Images Front Cover: (1) Wounded soldier of the 10th Battalion, Black Watch being carried out of a communication trench on the ‘Birdcage’ Line near Salonika, February 1916 © IWM; (2) The advance through Palestine and the Battle of Megiddo: A sergeant directs orders whilst standing on one of the wooden saddles of the Camel Transport Corps © IWM (3) Soldiers of the Royal Army Service Corps outside a Field Ambulance Station. © IWM Inside Front Cover: Helles Memorial, Gallipoli © Barbara Taylor Back Cover: ‘Blood Swept Lands and Seas of Red’ at the Tower of London © Julia Gavin ii | THE FORGOTTEN FRONTS THE FORGOTTEN FRONTS | iii ISBN: 978-1-874346-46-3 First published in November 2016 by Creative Media Designs, Army Headquarters, Andover. -
Islamic Gunpowder Empires : Ottomans, Safavids, and Mughals / Douglas E
“Douglas Streusand has contributed a masterful comparative analysis and an up-to- S date reinterpretation of the significance of the early modern Islamic empires. This T book makes profound scholarly insights readily accessible to undergraduate stu- R dents and will be useful in world history surveys as well as more advanced courses.” —Hope Benne, Salem State College E U “Streusand creatively reexamines the military and political history and structures of the SAN Ottoman, Safavid, and Mughal empires. He breaks down the process of transformation and makes their divergent outcomes comprehensible, not only to an audience of special- ists, but also to undergraduates and general readers. Appropriate for courses in world, early modern, or Middle Eastern history as well as the political sociology of empires.” D —Linda T. Darling, University of Arizona “Streusand is to be commended for navigating these hearty and substantial historiogra- phies to pull together an analytical textbook which will be both informative and thought provoking for the undergraduate university audience.” GUNPOWDER EMPIRES —Colin Mitchell, Dalhousie University Islamic Gunpowder Empires provides an illuminating history of Islamic civilization in the early modern world through a comparative examination of Islam’s three greatest empires: the Otto- IS mans (centered in what is now Turkey), the Safavids (in modern Iran), and the Mughals (ruling the Indian subcontinent). Author Douglas Streusand explains the origins of the three empires; compares the ideological, institutional, military, and economic contributors to their success; and L analyzes the causes of their rise, expansion, and ultimate transformation and decline. Streusand depicts the three empires as a part of an integrated international system extending from the At- lantic to the Straits of Malacca, emphasizing both the connections and the conflicts within that AMIC system. -
Katalogu FUND.Cdr
E U R O P E A N C H A M B E R C H O R A L F E S T I VA L O F A L B A N I A 2 0 1 0 4 rd EDITION, 17-19 OCTOBER 2010 In the occasion of 100th - Anniversary of “Mother Teresa''' Under the auspices of her Excellency Mrs. JOZEFINA TOPALLI Head of Albanian Parliament P R O G R A M 1 7 - 1 9 O C T O B E R 2 3 D E C E M B E R MTKRS EU COMMISSION SUPPORTED BY MINISTRY OF TOURISM, CULTURE, YOUTH & SPORTS DELEGATION OF THE EUROPEAN COMMISION IN ALBANIA 4 rd EDITION, 17-19 OCTOBER 2010 E U R O P E A N C H A M B E R C H O R A L F E S T I VA L O F A L B A N I A 2 0 1 0 MANAGING STAFF Suzana Turku Kashara President of Festival Besim Petrela Executive Director 069 20 59 466 Pjeter Guralumi Public Relations Coordinator 069 40 37 866 Milto Kutali Stage Director 068 40 18 191 Shaqir Rexhvelaj General Secretary of the Festival 067 20 75 960 Fatlinda Subashi International Relations 069 20 59 469 Admir Rexha Secretary 068 40 31 520 Fahri Karameti Assistant Besnik Shamku Transport 069 20 74 417 Suzana Turku Kashara artistic bodies about 14 choirs Zv/Ministre e Turizmit, participating in the fourth Kultures, Rinise dhe Sporteve edition of the European festival: Albania, Greece, Italy, The fourth edition of the Netherlands, Montenegro, Festival EUROPEAN Macedonia Bulgaria, France, Chamber Choirs 2010 Israel, Bosnia, Czech culminates with a very special Republic etc. -
Killing Hope U.S
Killing Hope U.S. Military and CIA Interventions Since World War II – Part I William Blum Zed Books London Killing Hope was first published outside of North America by Zed Books Ltd, 7 Cynthia Street, London NI 9JF, UK in 2003. Second impression, 2004 Printed by Gopsons Papers Limited, Noida, India w w w.zedbooks .demon .co .uk Published in South Africa by Spearhead, a division of New Africa Books, PO Box 23408, Claremont 7735 This is a wholly revised, extended and updated edition of a book originally published under the title The CIA: A Forgotten History (Zed Books, 1986) Copyright © William Blum 2003 The right of William Blum to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Cover design by Andrew Corbett ISBN 1 84277 368 2 hb ISBN 1 84277 369 0 pb Spearhead ISBN 0 86486 560 0 pb 2 Contents PART I Introduction 6 1. China 1945 to 1960s: Was Mao Tse-tung just paranoid? 20 2. Italy 1947-1948: Free elections, Hollywood style 27 3. Greece 1947 to early 1950s: From cradle of democracy to client state 33 4. The Philippines 1940s and 1950s: America's oldest colony 38 5. Korea 1945-1953: Was it all that it appeared to be? 44 6. Albania 1949-1953: The proper English spy 54 7. Eastern Europe 1948-1956: Operation Splinter Factor 56 8. Germany 1950s: Everything from juvenile delinquency to terrorism 60 9. Iran 1953: Making it safe for the King of Kings 63 10. -
Y, Mtdna, Romanovs
Topics and Techniques for Forensic DNA Analysis Continuing Education Seminar Y-STRs, mtDNA, and the Romanov Case NYC OCME Dr. Michael D. Coble Dept of Forensic National Institute of Biology Standards and Technology New York City, NY [email protected] April 18, 2012 The Human DNA Genome Nuclear DNA ~3.2 billion bp High Power of Discrimination Mitochondrial DNA 16.5 Kbp High Copy # Cell Nucleus – 3.2 billion bp Autosomes – 22 pairs – 2 copies per cell Sex Chromosomes (XX or XY) mitochondria – in cell cytoplasm 100s of mtDNA copies per cell Lineage Markers Autosomal DNA 1/8 from Great-grandparents Lineage Markers Y chromosome passed along paternal lineage Autosomal DNA 1/8 from Great-grandparents Lineage Markers Y chromosome mtDNA genome passed along passed along paternal lineage maternal lineage Autosomal DNA 1/8 from Great-grandparents The Y-chromosome (From Nature website) 10,000X magnification of X and Y chromosomes Value of Y-Chromosome Markers Application Advantage Forensic casework on Male-specific amplification (can avoid sexual assault evidence differential extraction to separate sperm and epithelial cells) Paternity Testing Male children can be tied to fathers in motherless paternity cases Missing Persons Patrilineal male relatives may be used for reference samples Investigations Human migration and Lack of recombination enables comparison of male evolutionary studies individuals separated by large periods of time Historical and Surnames are usually retained by males; can make links Genealogical research where a paper trail -
Executing German Spies at the Tower of London During World War One Samuel Weber Chapman University
Voces Novae Volume 5 Article 9 2018 “First as Tragedy, Second as Farce”: Executing German Spies at the Tower of London During World War One Samuel Weber Chapman University Follow this and additional works at: https://digitalcommons.chapman.edu/vocesnovae Recommended Citation Weber, Samuel (2018) "“First as Tragedy, Second as Farce”: Executing German Spies at the Tower of London During World War One," Voces Novae: Vol. 5 , Article 9. Available at: https://digitalcommons.chapman.edu/vocesnovae/vol5/iss1/9 This Article is brought to you for free and open access by Chapman University Digital Commons. It has been accepted for inclusion in Voces Novae by an authorized editor of Chapman University Digital Commons. For more information, please contact [email protected]. Weber: “First as Tragedy, Second as Farce”: Executing German Spies at th “First as Tragedy, Second as Farce” Voces Novae: Chapman University Historical Review, Vol 4, No 1 (2013) HOME ABOUT USER HOME SEARCH CURRENT ARCHIVES PHI ALPHA THETA Home > Vol 4, No 1 (2013) > Weber "First as Tragedy, Second as Farce": Executing German Spies at the Tower of London During World War One Samuel Weber "History repeats itself, first as tragedy, second as farce."[1] Karl Marx here unknowingly summed up the history of the Tower of London during World War One. During its existence, the Tower has been the site of hundreds of executions of state prisoners, though none after 1780. However, the British public still continues to associate the Tower with executions even today. When faced with the decision of where to execute German spies during the First World War, there was almost no hesitation; the Tower was the place. -
Sole Luna Doc Film Festival 16. Edition 05 — 11 . 07 . 2021 Palermo a / to Giuseppe
Sole Luna Doc Film Festival 16. edition 05 — 11 . 07 . 2021 Palermo a / to Giuseppe «Un uomo si propone il compito di disegnare il mondo. Trascorrendo gli anni, popola uno spazio con immagini di province, di regni, di montagne, di baie, di navi, d’isole, di pesci, di dimore, di strumenti, di astri, di cavalli e di persone. Poco prima di morire, scopre che quel paziente labirinto di linee traccia l’immagine del suo volto». / «A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face». Jorge Luis Borges Sole Luna Doc Film Festival Sole Luna 16. edizione / edition Doc Film Festival un progetto di / a project by Associazione Sole Luna – Un ponte tra le culture © 2021 sedicesima edizione / sixteenth edition [email protected] www.solelunadoc.org Palermo 5 — 11 luglio / July 2021 twitter @festivalsole Complesso monumentale dello Steri facebook Sole Luna Festival instagram solelunadoc #SoleLunaFestival #Crearelegami / #Establishties Sole Luna Doc Film Festival 2021 presidente / president ufficio stampa / press traduzioni ufficio stampa — Serena Giglio, trailer Sole Luna Doc Film Lucia Gotti Venturato Gioia Sgarlata / press translations studenti / students: Linda Montalti, Festival 2021 Gaia Tilotta Karin Allegra, Marina Pappalardo, / 2021 Sole Luna Doc Film direzione scientifica comunicazione -
Music in Poetry and Poetry in Music: Tumanian's Anush
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Music In Poetry And Poetry In Music: Tumanian's Anush Beata Asmik Navratil Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1068 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH By BEATA NAVRATIL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 ©2015 BEATA NAVRATIL All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts James R. Cowdery Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Zdravko Blažeković Tatjana Markovic Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH by Beata Navratil Advisor: Professor Stephen Blum The poem Anush by the Armenian poet Hovhannes Tumanian (1869–1923) is rooted in traditional Armenian music. Tumanian’s poem reflects a number of manifestations thereof: (1) It borrows in its style from Armenian lyrical songs (such as lalik and khagh), from the parerg style (the traditional dance-song), and from the voghb style (laments such as funeral laments, bayati, and tragic odes). -
Sketch P . 334), 338 192 ; Proposed Withdrawal of Greek Troops from , AAMIQ (Sketch P
INDEX AACHRAFIYE (Sketch p. 416), 41 8 ALBANIA—continued AAL, EL (Sketch p . 334), 338 192 ; proposed withdrawal of Greek troops from , AAMIQ (Sketch p . 516), 53 5 12, 16 ; British air support in, 22-3 ; Italian offensive AANOUT (Sketches pp. 462, 475), 460, 461, 464, 47 5 in, 25 ; proposed Greek-Yugoslav offensive, 26 , AAQLIYE (Map p . 482), 471, 472 27, 40, 41, 43 ; Greek withdrawal, 46, 54, 76-7 , Aba, British hospital ship, 214n 80, 93 ABABY, JEBEL (Sketch p . 381), 383 Alcides, Norwegian tanker, 188 ABADAN (Sketch p . 533), 532 ALCOHOL, 105, 206, 258 ABBOTTSMITH, Sgt J ., 547 ALDRIDGE, Gnr J ., 121, 122 ABD EL KAMH (Sketch p . 353), 35 3 ALEPPO (Map p. 339 ; Sketch p . 478), 327, 330, 331 , Abdiel, British mine-layer, 239, 243, 244, 251n, 305 441, 479, 480, 511, 512, 517, 519, 534, 535, 546 ABDUL ILLAH, AMIR, 19 9 ALEXANDRETTA, 18 8 ABETZ, Otto, 329 ALEXANDRIA (Sketch p . 298), 17, 23, 30, 31, 151, 170, ABEY (Sketches pp . 462, 504), 473, 496, 500, 502, 503 , 174, 177, 202, 211, 227, 238, 239, 243, 251n, 291 , 504, 50 5 292, 298, 302, 305, 306, 311, 318, 320, 513n, 55 9 ABou ATRIZ, JEBEL (Sketch p . 393), 393, 394 ALEY (Sketch p. 504), 480, 53 5 ABou NmA, TEL (Sketch p . 357), 356 ALIAKMON-OLYMPUS LINE, see OLYMPUS-ALIAKMON ABOU ZARE, WADI (Sketch p. 381), 380, 38 5 LINE ABU KEMAL (Sketch p. 478), 479 ALL&KMON RIVER (Map p . 34 ; Sketches pp. 4, 75), 3 , ABYSSINIA, 7, 320, 321n, 334, 342, 441, 529, 555, 562 , 4, 8, 29, 32, 34, 40, 46, 54, 55, 56, 58, 66, 68, 71, 73 , Italian defeat in, 197 ; British army strength in, 53 1 74, 75, 76, 77, 81, 82, 83, 85, 86, 90, 92, 93, 94 , ACRE CONVENTION, 513-14 ; administration of, 515-22 158, 165n ; 19th Brigade crossing, 87-8 9 ACROPOLE PALACE HOTEL, 24, 155 ; site of Lustre ALIKAMBOS (Sketch p.