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The article discusses the efforts of the Kievan nobility to secure castle records in the period when the palatinate's dietines have been held in Włodzimierz, and analyzes the resolves of those dietines in this regard. It also discusses the activities of the commissioners appointed to revise old records, assess the extent of war damage to existing records, and oversee the proper keeping of new ones. The attention is also paid to the postulates put forward in the instructions for the palatinate deputies. The Kievans have sought to recover the records captured by the Muscovy, but this objective has not been attained. Other sources, such as manifestations and requisitions, have also been employed. Activities of the Kievan nobility have led to the revision of the castle records of Żytomierz and Owrucz. Żytomierz records have been kept at Łuck, remaining inaccessible to the Kievans until the record-keeping has been resumed in the 18th century. Old Owrucz records have been lost after the monastery fire, and the new ones have been reestablished in the late 1670s. Keeping of Kiev records has been resumed in 1684 in consequence of the reestablishment of the palatinate courts. [ABSTRACT FROM AUTHOR]

Copyright of Studia Koszalinsko-Kolobrzeskie is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annales Universitatis Mariae Curie-Skłodowska, Sectio F: Historia is the property of Maria Curie-Sklodowska University in Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archives of the History & Philosophy of Medicine / Archiwum Historii i Filozofii Medycyny is the property of Polskie Towarzystwo Historii Medycyny i Farmacji and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Metropolitan Józef Sołtan was one of the most prominent hierarchs of the Orthodox Church in the Polish-Lithuanian Commonwealth in the 16th century. Most researchers believe that Józef Sołtan, Smolensk Orthodox Bishop (1503-1507) and later the Metropolitan of Kiev (15071521), was the son of Sołtan Alexandrowicz and Wasylissa Chreptowiczówna, brother of Alexander Sołtan. The findings presented in the article show that the view of the origin of the family of metropolitan Józef Sołtan from the Łohojska line is fully credible in confrontation with the names of the persons mentioned in the Supraśl book of the deceased. An analysis of the Supraśl book of the dead shows that it contains the names of people from the family of Archbishop Józef Sołtan, and that Eliasz Sołtan, a farmer from the Łohojsk region, is the same person as Metropolitan Józef Sołtan. [ABSTRACT FROM AUTHOR]

Yevhen Yakovych Sahaidachnyi (1886-1961) was an outstanding personality in the art and culture scene of Ukraine of the first half of the 20th century. He obtained art education in St. Petersburg. He worked as a stage designer from 1911 to 1918. He taught at the educational establishments of Kyiv, Dnipropetrovsk, Myrhorod and Kosiv since 1920. He is famous for his collections of Ukrainian folk art, Hutsul, in particular. This article is an in-depth study of work of Yevhen Sahaidachnyi as a collector and researcher of the treasures of folk art of the Hustul Region. The goal of the author is to trace the Kosiv Period of the artist and teacher (1947-1961) and reveal a considerable contribution of Ye. Sahaidachnyi to the development of Hutsul art. The objectives set determined the research methods: biographical and art. The conducted research was based on the study of the archive materials and works from the collection of Kosiv Museum of Folk Art and Ethnography of the Hutsul Region. [ABSTRACT FROM AUTHOR]

The necessity of the Academy of Fine Arts on the territory of Ukraine was recognised by the Ukrainian intelligentsia and in 1917 a group of Kiev professors headed by Dmytro Antonovych initialised works on the charter of the future Academy of Fine Arts by establishing a special commission. Despite the difficult situation of the young Ukrainian People's Republic and the Civil War, the Ukrainian State Academy of Fine Arts was founded on 5 December 1917 in Kiev. Among its founding professors were Jerzy Narbutt, Alexandr Murashko, Krychevskyi brothers, Mykhailo Boychuk, Mykola Burachek, Mykhailo Zhuk and Abram Manevich. All the founders were contemporary artists, who either graduated from the Academy of Fine Arts in St. Petersburg (and were active in the artistic circles of the capital), were foreign-educated (Boychuk, Burachek and Zhuk studied in Cracow) or completed their education in local art schools (Manevich). The author presents the personalities of the founding professors and their, mostly, tragic fate. [ABSTRACT FROM AUTHOR]

Copyright of Studia z Filologii Polskiej i Slowianskiej is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the relation entered into the third volume of his Annals, dated 1076, Jan Długosz describing the Kiev campaign of Boleslaus the Generous introduces a description of the moral metamorphosis of the Polish ruler and accompanying knights. He maintains that they were guilty of a Sodom sin, which they committed in Ruthenia. This very phenomenon received the chronicler's decided anti-Ruthenian tone. The present article established the importance of Długosz's accusation and explains how this very element had its role in developing negative opinions about Ruthenians in the Annals. The author also provides background information about earlier accusations against Boleslaus regarding his sexual impurity. [ABSTRACT FROM AUTHOR]

The declarative anti-traditional attitude, which often has been mentioned as the chief feature of the avant-garde, was of double significance in the case of Jewish artists. In addition to striving for a new form in art, they also wanted to transform their Jewish identity and express it in artistic creation. This attitude united the milieus of Jewish artists who in the first two decades of the 20th century were creating a complex and multidirectional network, outstretched between Berlin, Warsaw, Kiev, Lwów and Łódź (to mention just a few). The character of this network was heterogeneous - on the one hand it was a cultural space, a field of constant migrations of ideas and mutual influences. Simultaneously, it was full of tensions, conflicting cultural projects and expectations regarding the form and role of Jewish modern art. The development of Jewish avant-garde groups, their character and dynamics influenced the process of transforming the project of creating national art, as well as its final destiny. The field of particularly intense contacts was the relationship between Jewish expressionists from Poland and Germany. The main aim of this article is take a closer look at the contacts between the milieus of the Berlin group Die Pathetiker and the Łódź group Yung-Yidish. Indeed artists from both groups, tried to combine the Jewish themes and topos with the aesthetics of expressionism. However, their potential and apparent similarities can be challenged by posing basic questions: did they have similar assumptions and goals, where is the essence of mutual inspirations, and where foundations of differences between them lie? [ABSTRACT FROM AUTHOR]