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Currently, the conceptualisation of the relations between literature and memory is very diverse. It can be studied on the background of intertextuality, topics, canon, metaphor, and/or from the perspective of the question how to construct the memories as a narrative. A link between literature and time plays an important role, especially in autobiographic memory. A systemic theory, cognitive psychology, gender studies and media studies belong to the latest theoretical approaches concerned with literature and memory. Contemporary interdisciplinary memory research deals with the following question: to what extent can the examined phenomena be classified? Because of this, my paper has a systemic nature. It evaluates the link between literature and memory on the background of three concepts: memory of literature, memory in literature and literature as a medium of memory. [ABSTRACT FROM AUTHOR]

In the late 19th and early 20th centuries, the Ukrainian Cossacks dominated in the Kuban Cossack army (the largest of the Cossack units of the Russian Empire). A longterm military service and constant military training had contributed to the maintenance and development of the Cossack military and martial arts. Besides teaching military values and the Cossack way of life, various paramilitary contests were organized to maintain high-quality military training. These contests were held both in the front line military units and in the Cossack settlements (with both adult and child contestants). The Cossacks' long-term and hard military service became the basis for certain socio-economic, societal, legal and military privileges. In the places of their compact residence, the Cossacks implemented the principles of military democracy and paramilitary way of life. [ABSTRACT FROM AUTHOR]

The history of Russian art patronage has to this date not yet been comprehensively treated in Czech, Slovak, or other foreign scholarly literature. It is only within the Russian scholarly context that that several interesting publications have been released on this subject in the past few years. However, they focus on Russian art patronage from an art historical and sociological perspective. This study, therefore, aims to analyze Russian art patronage from a historical perspective, within the context of historical events. Thus, the historical rather than the art historical perspective is fundamental. Its objective is to treat the emergence and development of Russian art patronage and, using the example of one of the most eminent art patrons and collectors of the second half of the 19th century, the wealthy Moscow merchant Pavel Tretyakov, to illustrate why and how this patronage evolved. It then discusses the benefits for Russian society that were realized through the development of patronage generally, and in particular through Tretyakov's establishment of a gallery that was made accessible to the general public. [ABSTRACT FROM AUTHOR]