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Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers, Masterarbeit Universität Innsbruck 2022

von: Viktoria E. Steiner, BA, Masterarbeit Universität Innsbruck 2022

The article examines Uzbek fighters’ heroic actions in the battles on the front line. Notoriously, that Uzbek thrillers were also at the fronts forefront organized against the Nazi army, which was waging aggressive wars to subjugate the whole world. The unique archival documents and scientific literature that have survived to this day contain original information about Uzbek soldiers battles at the front. This article is also devoted to a scientific study of Uzbek soldiers heroism in major battles at the front which are based on these facts.

The article examines Uzbek fighters’ heroic actions in the battles on the front line. Notoriously, that Uzbek thrillers were also at the fronts forefront organized against the Nazi army, which was waging aggressive wars to subjugate the whole world. The unique archival documents and scientific literature that have survived to this day contain original information about Uzbek soldiers battles at the front. This article is also devoted to a scientific study of Uzbek soldiers heroism in major battles at the front which are based on these facts.

The article examines Uzbek fighters’ heroic actions in the battles on the front line. Notoriously, that Uzbek thrillers were also at the fronts forefront organized against the Nazi army, which was waging aggressive wars to subjugate the whole world. The unique archival documents and scientific literature that have survived to this day contain original information about Uzbek soldiers battles at the front. This article is also devoted to a scientific study of Uzbek soldiers heroism in major battles at the front which are based on these facts.

In 17th century Europe, art, science and technology were deeply intertwined. Mapping Spaces traces the multifaceted relationship between the disciplines. The article explores how the combined interest in mapping of the heavens and earth was presented in illustrations, particularly frontispieces in books on astronomy.

Hacia el siglo XVIII era cosa común el uso y diseño de frontispicios, especialmente con la finalidad de adornar portadas de libros, cargadas de alguna manera de ideas relativas a las tesis de las obras a publicar. Estos frontispicios se caracterizaban por ser de carácter alegórico, era la norma y la costumbre de la época dieciochesca. Lo inusual del uso del frontispicio en la obra de Giambattista Vico es que éste, en el contexto de su obra magna, la Ciencia nueva, recoge todos los tópicos de la obra viquiana, algo en nada semejante al racionalismo y el empirismo predominantes por entonces. Para comprender a fondo la obra del filósofo napolitano es menester descodificar el mundo alegórico que despliega la imagen del frontispicio en cuestión., The use of frontispieces was quite widespread towards the end of the XVIIIth century, particularly in order to decorate covers of books, showing in one way or another the main ideas appearing in the published works. Those frontispieces were characterised by their alegorical character, conforming to the norm and habits of the eighteent century. What was unusual in the employment of frontispiece in Giambattista Vico’s work was that, in the context of his greatest work, the new science, it collects all the topics of the Vichian work, something entirely dissimilar from both rationalism and empiricism, dominant at the time. In order to fully understand the work of the Napolitan philosopher one must decode the allegoric world that is unfolded in the image of that frontispiece.

Hacia el siglo XVIII era cosa común el uso y diseño de frontispicios, especialmente con la finalidad de adornar portadas de libros, cargadas de alguna manera de ideas relativas a las tesis de las obras a publicar. Estos frontispicios se caracterizaban por ser de carácter alegórico, era la norma y la costumbre de la época dieciochesca. Lo inusual del uso del frontispicio en la obra de Giambattista Vico es que éste, en el contexto de su obra magna, la Ciencia nueva, recoge todos los tópicos de la obra viquiana, algo en nada semejante al racionalismo y el empirismo predominantes por entonces. Para comprender a fondo la obra del filósofo napolitano es menester descodificar el mundo alegórico que despliega la imagen del frontispicio en cuestión., The use of frontispieces was quite widespread towards the end of the XVIIIth century, particularly in order to decorate covers of books, showing in one way or another the main ideas appearing in the published works. Those frontispieces were characterised by their alegorical character, conforming to the norm and habits of the eighteent century. What was unusual in the employment of frontispiece in Giambattista Vico’s work was that, in the context of his greatest work, the new science, it collects all the topics of the Vichian work, something entirely dissimilar from both rationalism and empiricism, dominant at the time. In order to fully understand the work of the Napolitan philosopher one must decode the allegoric world that is unfolded in the image of that frontispiece.

Hacia el siglo XVIII era cosa común el uso y diseño de frontispicios, especialmente con la finalidad de adornar portadas de libros, cargadas de alguna manera de ideas relativas a las tesis de las obras a publicar. Estos frontispicios se caracterizaban por ser de carácter alegórico, era la norma y la costumbre de la época dieciochesca. Lo inusual del uso del frontispicio en la obra de Giambattista Vico es que éste, en el contexto de su obra magna, la Ciencia nueva, recoge todos los tópicos de la obra viquiana, algo en nada semejante al racionalismo y el empirismo predominantes por entonces. Para comprender a fondo la obra del filósofo napolitano es menester descodificar el mundo alegórico que despliega la imagen del frontispicio en cuestión., The use of frontispieces was quite widespread towards the end of the XVIIIth century, particularly in order to decorate covers of books, showing in one way or another the main ideas appearing in the published works. Those frontispieces were characterised by their alegorical character, conforming to the norm and habits of the eighteent century. What was unusual in the employment of frontispiece in Giambattista Vico’s work was that, in the context of his greatest work, the new science, it collects all the topics of the Vichian work, something entirely dissimilar from both rationalism and empiricism, dominant at the time. In order to fully understand the work of the Napolitan philosopher one must decode the allegoric world that is unfolded in the image of that frontispiece.

Hacia el siglo XVIII era cosa común el uso y diseño de frontispicios, especialmente con la finalidad de adornar portadas de libros, cargadas de alguna manera de ideas relativas a las tesis de las obras a publicar. Estos frontispicios se caracterizaban por ser de carácter alegórico, era la norma y la costumbre de la época dieciochesca. Lo inusual del uso del frontispicio en la obra de Giambattista Vico es que éste, en el contexto de su obra magna, la Ciencia nueva, recoge todos los tópicos de la obra viquiana, algo en nada semejante al racionalismo y el empirismo predominantes por entonces. Para comprender a fondo la obra del filósofo napolitano es menester descodificar el mundo alegórico que despliega la imagen del frontispicio en cuestión., The use of frontispieces was quite widespread towards the end of the XVIIIth century, particularly in order to decorate covers of books, showing in one way or another the main ideas appearing in the published works. Those frontispieces were characterised by their alegorical character, conforming to the norm and habits of the eighteent century. What was unusual in the employment of frontispiece in Giambattista Vico’s work was that, in the context of his greatest work, the new science, it collects all the topics of the Vichian work, something entirely dissimilar from both rationalism and empiricism, dominant at the time. In order to fully understand the work of the Napolitan philosopher one must decode the allegoric world that is unfolded in the image of that frontispiece.

Hacia el siglo XVIII era cosa común el uso y diseño de frontispicios, especialmente con la finalidad de adornar portadas de libros, cargadas de alguna manera de ideas relativas a las tesis de las obras a publicar. Estos frontispicios se caracterizaban por ser de carácter alegórico, era la norma y la costumbre de la época dieciochesca. Lo inusual del uso del frontispicio en la obra de Giambattista Vico es que éste, en el contexto de su obra magna, la Ciencia nueva, recoge todos los tópicos de la obra viquiana, algo en nada semejante al racionalismo y el empirismo predominantes por entonces. Para comprender a fondo la obra del filósofo napolitano es menester descodificar el mundo alegórico que despliega la imagen del frontispicio en cuestión., The use of frontispieces was quite widespread towards the end of the XVIIIth century, particularly in order to decorate covers of books, showing in one way or another the main ideas appearing in the published works. Those frontispieces were characterised by their alegorical character, conforming to the norm and habits of the eighteent century. What was unusual in the employment of frontispiece in Giambattista Vico’s work was that, in the context of his greatest work, the new science, it collects all the topics of the Vichian work, something entirely dissimilar from both rationalism and empiricism, dominant at the time. In order to fully understand the work of the Napolitan philosopher one must decode the allegoric world that is unfolded in the image of that frontispiece.

Interior design of cult buildings has suffered transformations along antiquity which origin are, not only participation of society in sacred rites, but also different cultural traditions on space that happened during the primitive stages of the age. The Parthenon - Athens S V a C - was built as Athena's house and in her honor, not born to be looked around from inside but as a supreme offer; aesthetical and rational conception of its space imposes exterior magnificence and proportional perfection. The Pantheon - Rome S II d C - represents a symbol of roman constructive project, that takes Greek formal vocabulary, combining it with its own constructive tradition based on the expansion of interior space and transforming architectonical elements into design rudiments. The first Saint Peter - Rome 324 d C - is an example of monumental building thought to house new Christian community, which space distribution is developed in only one direction and subordinated to the altar., O tratamento do interior nos edifícios de culto durante o período conhecido genéricamente como Antigüidade teve transformações cujos origens são tanto a participação da sociedade nos ritos sagrados quanto as diferentes tradições culturais sobre o espaço que foramse desenvolvendo nas etapas formativas da era. O Partenão - Atenas, s. V a.C - foi construído como casa e para honra de Atena, não pensado para ser percurso mas como máxima oferenda; a concepção estética e racional do espaço impôs magnificência exterior e perfeição proporcional. O Panteão - Roma, s. II d.C. - é um símbolo do projeto constructivo romano que uniu sua própria tradição constructiva, baseada na expansão do espaço interior, com o vocabulário formal grego, transformando os elementos arquitetônicos em elementos de seu desenho. A primeira Basílica de São Pedro - Roma, 324 d.C - é um exemplo de edificação monumental pensada para reunir à nova comunidade cristã, cuja distribução espacial unidireccional se subordina à presença do altar., El tratamiento del interior en los edificios de culto durante el período conocido genéricamente como Antigüedad sufrió transformaciones cuyo origen estriba tanto en la participación de la sociedad en los ritos sagrados como en distintas tradiciones culturales acerca del espacio que se fueron sucediendo en las etapas formativas de la era. El Partenón - Atenas, s. V a.C - fue construido como casa y para honra de Atenea, no concebido para ser circulado sino como suprema ofrenda; la concepción estética y racional del espacio imponía magnificencia exterior y perfección proporcional. El Panteón - Roma, s. II d.C. - constituye un símbolo del proyecto constructivo romano, que se apropió del vocabulario formal griego pero lo combinó con su propia tradición constructiva basada en la expansión del espacio interior, y convirtió los elementos arquitectónicos en elementos para su diseño. La primera Basílica de San Pedro- Roma, 324 d.C. - es un ejemplo de edificación monumental pensada para que se reúna la nueva comunidad cristiana, cuya distribución de espacio unidireccional se subordina a la presencia del altar.

Interior design of cult buildings has suffered transformations along antiquity which origin are, not only participation of society in sacred rites, but also different cultural traditions on space that happened during the primitive stages of the age. The Parthenon - Athens S V a C - was built as Athena's house and in her honor, not born to be looked around from inside but as a supreme offer; aesthetical and rational conception of its space imposes exterior magnificence and proportional perfection. The Pantheon - Rome S II d C - represents a symbol of roman constructive project, that takes Greek formal vocabulary, combining it with its own constructive tradition based on the expansion of interior space and transforming architectonical elements into design rudiments. The first Saint Peter - Rome 324 d C - is an example of monumental building thought to house new Christian community, which space distribution is developed in only one direction and subordinated to the altar., O tratamento do interior nos edifícios de culto durante o período conhecido genéricamente como Antigüidade teve transformações cujos origens são tanto a participação da sociedade nos ritos sagrados quanto as diferentes tradições culturais sobre o espaço que foramse desenvolvendo nas etapas formativas da era. O Partenão - Atenas, s. V a.C - foi construído como casa e para honra de Atena, não pensado para ser percurso mas como máxima oferenda; a concepção estética e racional do espaço impôs magnificência exterior e perfeição proporcional. O Panteão - Roma, s. II d.C. - é um símbolo do projeto constructivo romano que uniu sua própria tradição constructiva, baseada na expansão do espaço interior, com o vocabulário formal grego, transformando os elementos arquitetônicos em elementos de seu desenho. A primeira Basílica de São Pedro - Roma, 324 d.C - é um exemplo de edificação monumental pensada para reunir à nova comunidade cristã, cuja distribução espacial unidireccional se subordina à presença do altar., El tratamiento del interior en los edificios de culto durante el período conocido genéricamente como Antigüedad sufrió transformaciones cuyo origen estriba tanto en la participación de la sociedad en los ritos sagrados como en distintas tradiciones culturales acerca del espacio que se fueron sucediendo en las etapas formativas de la era. El Partenón - Atenas, s. V a.C - fue construido como casa y para honra de Atenea, no concebido para ser circulado sino como suprema ofrenda; la concepción estética y racional del espacio imponía magnificencia exterior y perfección proporcional. El Panteón - Roma, s. II d.C. - constituye un símbolo del proyecto constructivo romano, que se apropió del vocabulario formal griego pero lo combinó con su propia tradición constructiva basada en la expansión del espacio interior, y convirtió los elementos arquitectónicos en elementos para su diseño. La primera Basílica de San Pedro- Roma, 324 d.C. - es un ejemplo de edificación monumental pensada para que se reúna la nueva comunidad cristiana, cuya distribución de espacio unidireccional se subordina a la presencia del altar.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

Robert Bridges returns the materials used for illustrating President Roosevelt's book and is glad he is pleased with the regular edition of Outdoor Pastimes , which Bridges sent to Philip Battell Stewart and Alexander Lambert.