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Il classico è un estratto di un articolo di Frederick Antaldel 1932, Über museen in der Sowjetunion, apparso solo nel 1973 in «Kritische Berichte», nn. 2-3. La traduzione italiana si trova in L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204. The classis is an excherpt from a paper of Frederick Antal, Über museen in der Sowjetunion (1932) published in 1973 in «Kritische Berichte», nn. 2-3. The Italian translation is on L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204.

This is a case study of social work students’ initial experiences with professional writing at the workplace. The paper addresses the issue of academic writing with special attention to the types of documents written by social work students on their fieldwork placements using twelve students who volunteered to be interviewed. Their views are that their academic writing differs according to the preferences of their individual lecturers rather than the requirement of the work situation. We recommend that in these difficult times when graduates globally are faced with employability challenges, university writing courses be aligned to the demands of their prospective employer.

The material culture of Veliky Novgorod of XIII–XIV centuries shows a pronounced influence of Eastern fine art, brought by new contacts with the vast art world of the Golden Horde. Along with mass-scale artefacts distinguished artistic objects come across. One of them is the horn lotus-shaped applique with a dragon image from the Nerevsky site in Veliky Novgorod. This image has a number of stylistic analogies among archaeological artefacts of Golden Horde cities. The main problem of the article deals with the analysis of the origin of this image. The Golden Horde art was formed by strong influence of China. This process was reflected in some artistic objects, which were decorated with dragon images with typical style and iconography. Veliky Novgorod dragon, like other similar images, doesn’t find absolute analogies among the Golden Horde items, inspired by the Yuan Dynasty. These features demonstrate the hybrid nature of the artistic image from Veliky Novgorod.

Розглянуто особливості концертно-фортепіанного стилю А. Караманова — видатного українського композитора, творчість котрого лише останнім часом стає предметом музикознавчого дискурсу. Окреслюється «крива» мовностильової еволюції, етапи якої позначені трьома масштабними концертами композитора, останній з яких, з підзаголовком «Ave Maria», уже здобув світову популярність і увійшов до репертуару видатних виконавців як в Україні, так і за її межами. На основі повного аналізу жанрово-стилістичного комплексу феномену «фортепіанний концерт» запропоновано дефініцію поняття «концертно-фортепіанний стиль», що екстраполюється на авторський стиль А. Караманова в цьому жанрі. Означено та узагальнено характерні ознаки трьох фортепіанних концертів композитора — своєрідного циклу-триптиха, у якому через діяльність А. Караманова як композитора-піаніста втілено константні та індивідуально-новаторські ознаки жанру, що набув значення симфонізованої концептуальної моделі не лише у його творчості, а й у діяльності багатьох композиторів України та зарубіжжя кінця ХХ–ХХI ст.

The problem addressed in this study is nihilism. The philosopher Friedrich Nietzsche traced its origin to the long history of apocalyptic and eschatological thought in Western religions, and to the survival of the linear and universalizing aspects of their theology in modern secular thought. Nietzsche saw this unconscious legacy affecting everything from Enlightenment philosophes, to the natural and biological sciences, to politics and economics. An existential crisis in European civilization – the advent of nihilism – thus came about because of the “death of God”, i.e., the loss of unshakeable objective faith amongst Europeans in the truth of the Abrahamic faiths.I take seriously Nietzsche’s suggestion in Thus Spoke Zarathustra of a genealogical relationship between the ancient Iranians and the ancient Hebrews, which Nietzsche scholars have neglected. Exploring that historical interchange allows us to establish that Zoroastrian concepts of universal time and absolute morality entered Judaism, and thus the West, at a formative stage. I then discuss some key modern thinkers to which Nietzsche’s project responded, and show that apocalyptic eschatology lived on in the work of Kant, Hegel, Marx, and the Darwinians. Having established for himself that modernity was tainted at its origin by this kernel of religious dogma, Nietzsche saw no need to save modernity from itself, and thus looked beyond it, and beyond the naïve worship of reason that underpinned it.The solution to the problem of nihilism, in Nietzsche’s view, was not to overcome religion, but to transform it. What was needed was a new mythology – one consistent with the natural sciences, and one which glorified the world as it is, and not an ideal world to come. His challenging notions of Eternal Recurrence and Overhumanity were contributions to this new, life-affirming mythology.I make use of an extensive body of primary sources, ranging from the works of philosophers and scientists of the nineteenth century, to that of the ancient Greeks whom Nietzsche so admired, to the scriptural traditions of Zoroastrianism and Judaism. The work involves close reading and historical contextualization, seeking to establish contingent relationships as ideas moved and were transformed over time.

Aethiopica, Vol 14 (2011) Review