bluuebunny/crossref_metadata_2025_split huggingface dataset:
Multiple solutions for some symmetric supercritical problems
Authors: Candela A. M. , Palmieri G. , Salvatore A. 
Published: October 2019

The aim of this paper is to investigate the existence of one or more critical points of a family of functionals which generalizes the model problem [Formula: see text] in the Banach space [Formula: see text], where [Formula: see text] is an open bounded domain, [Formula: see text] and the real terms [Formula: see text] and [Formula: see text] are [Formula: see text] Carathéodory functions on [Formula: see text]. We prove that, even if the coefficient [Formula: see text] makes the variational approach more difficult, if it satisfies “good” growth assumptions then at least one critical point exists also when the nonlinear term [Formula: see text] has a suitable supercritical growth. Moreover, if the functional is even, it has infinitely many critical levels. The proof, which exploits the interaction between two different norms on [Formula: see text], is based on a weak version of the Cerami–Palais–Smale condition and a suitable intersection lemma which allow us to use a Mountain Pass Theorem.
A formalization of Java’s concurrent access modes
Authors: Bender John , Palsberg Jens 
Published: October 2019

Java's memory model was recently updated and expanded with new access modes. The accompanying documentation for these access modes is intended to make strong guarantees about program behavior that the Java compiler must enforce, yet the documentation is frequently unclear. This makes the intended program behavior ambiguous, impedes discussion of key design decisions, and makes it impossible to prove general properties about the semantics of the access modes.
In this paper we present the first formalization of Java's access modes. We have constructed an axiomatic model for all of the modes using the Herd modeling tool. This allows us to give precise answers to questions about the behavior of example programs, called litmus tests. We have validated our model using a large suite of litmus tests from existing research which helps to shed light on the relationship with other memory models. We have also modeled the semantics in Coq and proven several general theorems including a DRF guarantee, which says that if a program is properly synchronized then it will exhibit sequentially consistent behavior. Finally, we use our model to prove that the unusual design choice of a partial order among writes to the same location is unobservable in any program.
The “Dilettantism” of Savva Mamontov in Russian Art
Authors: Paston Eleonora 
Published: October 2019

Abstract
This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place.
In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.
The Poetics and Aesthetics of Otherness
Authors: Taroutina Maria 
Published: October 2019

Abstract
Although traditionally associated with the ascendance of National Romanticism, Slavic folklore, and the Neo-Russian style in painting, architecture, and the decorative arts, the Abramtsevo artistic circle was also privy to the inception and production of a number of manifestly Orientalist works, such as Vasilii Polenov’s Christ and the Adulteress (1888), Mikhail Vrubel’s ceramic sculptures of The Assyrian, The Egyptian Girl, The Pharaoh, and The Libyan Lion (1890s), and the costumes and set designs for the theatrical productions Judith (1878, 1898), Joseph (1880, 1881, 1887, 1889), The Black Turban (1884, 1887, 1889), King Saul (1890), and To the Caucasus (1891). In addition, a series of hybrid works that fused elements of the exotic with national thematic and stylistic content, such as Viktor Vasnetsov’s Underwater Kingdom (1884) and Mikhail Vrubel’s Princess Volkhova (1898), were likewise produced under the auspices of Savva Mamontov and the Abramtsevo community, thus blurring the boundaries between native and foreign, local and global, self and other, and Slavophilia and Orientalia. The present article posits that an understanding of the romanticized, Neo-Russian artistic and theatrical productions, and the nationalist polemics of the Abramtsevo artistic circle is necessarily incomplete without a detailed examination of the various Orientalist crosscurrents which informed and structured many of the group’s artworks throughout the 1880s and 1890s—a narrative that has been largely left out of scholarly accounts of the movement.
The Soil of Radonezh and the Artists of Abramtsevo
Authors: Wierda Inge 
Published: October 2019

Abstract
This article examines the historical and spiritual significance of Radonezh soil and its impact on the artistic practice of the Abramtsevo circle. Through a close reading of three paintings—Viktor Vasnetsov’s Saint Sergius of Radonezh (1881) and Alenushka (1881), and Elena Polenova’s Pokrov Mother of God (1883)—it analyzes how the Abramtsevo artists negotiated Saint Sergius’s legacy alongside their own experiences of the sacred sites in this area and especially the Pokrovskii churches. These artworks demonstrate how, in line with the prevalent nineteenth-century Slavophile interests, Radonezh soil provided a fertile ground for articulating a distinct Russian Orthodox identity in the visual arts of the 1880s and continues to inspire artists to this day.
Educational Activities of the Abramtsevo Artistic Circle and Vasilii Polenov’s House of Theatrical Enlightenment
Authors: Manucharova Darya 
Published: October 2019

Abstract
This article examines the activity of the Abramtsevo circle, mainly in the spheres of theater and church architecture. The partnership of two close friends, Savva Mamontov and Vasilii Polenov, generated most of the circle’s ideas and shaped its grand plans. The article analyzes the group’s cultural and educational projects, revealing the different ways in which the educational ideas of the Abramtsevo community influenced the realization of Polenov’s concepts and plans, which in turn were implemented in the artist’s social and theatrical life during the 1910s and 1920s.
Opposing Official Nationality
Authors: Nelson John 
Published: October 2019

Abstract
It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer.
Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
Viktor Vasnetsov’s New Icons
Authors: Salmond Wendy 
Published: October 2019

Abstract
This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.
Vasilii Polenov’s Architectural Projects
Authors: Kashtanova Elena 
Published: October 2019

Abstract
Vasilii Polenov can be described as one of the most “architectural” Russian artists of the late nineteenth century. In his sketches and paintings of the Gospel cycle, his historical works, theatrical scenery, and landscape paintings, the artist could not imagine realizing the main themes of his work without reference to architecture. Polenov’s architectural work can be divided into three types: church projects—such as those at Abramtsevo, the school at the Kologriv monastery in Kostroma province, and the Church of the Holy Trinity in Bekhovo in Tula province; manor architecture in the style of Scandinavian Art Nouveau at the estate he founded on the banks of the Oka River near Tula; and his only urban project—the House of Theatrical Education in Moscow. Polenov pursued the Neo-Russian style with particular alacrity in the sphere of church architecture, which is the focus of this essay, for it was here that the artist offered his own original interpretation of the national theme.
Viktor Vasnetsov and Russian Silver of the Late Nineteenth and Early Twentieth Centuries
Authors: Pronitcheva Karina 
Published: October 2019

Abstract
The article is dedicated to objects in precious metal made after Viktor Vasnetsov’s designs at the turn of the twentieth century. It discusses several creations known to be by Vasnetsov, and others which are likely to be attributable to him. The collaboration between Vasnetsov and Russian silversmiths such as Postnikov, Ovchinnikov, and Fabergé is analyzed on the basis of letters preserved in the collections of the State Tretyakov Gallery and the Viktor Vasnetsov Museum in Moscow, and newspaper reports of the period. The following artworks are discussed in detail, with special attention paid to the history of their creation: two presentational dishes of 1896, one for the Coronation of Emperor Nicholas II and one for the “All-Russian Industrial and Art Exhibition” of Nizhnii Novgorod, the khorugv (religious banner) for the coffin of Emperor Alexander III, the presentational dish of 1902 for French President Emile Loubet, the bronze and enamel iconostasis for the Cathedral of St. George in the town of Gus-Khrustalnyi, and the so-called “Ivan Kalita” bowl.
English Influences, Russian Experiments
Authors: Vyazova Ekaterina 
Published: October 2019

Abstract
This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.
Stacking National Identity
Authors: Goscilo Helena 
Published: October 2019

Abstract
The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the matreshka became standardized and promoted as the quintessential emblem of a vital Russia, above all to foreigners.
The demise of the Soviet Union witnessed the spectacular rise of the author’s matreshka, one indelibly stamped with the creative imagination of its individual creator under new economic and cultural conditions. Political figures, American sports heroes, British rock groups, TV characters, and Hollywood stars all appeared as increasingly decorative stacked dolls. In short, the fate and the appearance of the matreshka accurately reflect Russia’s ideological biases and shifts. If early twentieth-century exploration of diverse national images yielded to a monochromatic defensiveness materialized as the unyielding, stoic child-bearer of Cold War Sovietism, then the post-Soviet matreshka conveys the chameleon-like, cosmetic veneers adopted and discarded by the consumerist society of the 1990s and subsequent decades. My article analyzes the vagaries of the matreshka’s legacy under Soviet and post-Soviet rule, during which the stacked doll has never lost its status as a unique symbol of national identity, though the terms of that symbolism have evolved.
The Development of a National Style in Russian Civilian and Military Dress, 1880s-1910s
Authors: Khoroshilova Olga 
Published: October 2019

Abstract
This article focuses on the revival and development of a “national style” in Russian civilian and military dress from the 1880s to the period of World War I. The Slavophile movement [slavianophilstvo] and the Russo-Turkish War of 1877-78 played a large part in the Russian style revival during the reign of Tsar Alexander III. The idea of a national style was a source of inspiration for the Tsar when he ordered the introduction of new army outfits based on peasant dress. This policy also served to represent the Tsar visually as a skazochnyi silach-bogatyr [mighty fairytale bogatyr]—symbol of a new and powerful Russia. This article analyzes ways in which Russian civilian dress changed under the influence of the Russian-style military outfits of Alexander III’s army. It then examines the impact of the later “Neo-Russian” style on costume from nineteenth-century Russian operas, to the All-Russian Art and Industry exhibitions of the 1880s, to the boutiques for national dress which opened in Russia during this period. The second part of the article focuses on the later evolution of the national style in civilian dress during the reign of Tsar Nicholas II. It analyzes examples of early designs for reformed military outfits that were based on Russian folklore traditions. Although these were not actually manufactured, they were much discussed, and influenced the growth of public interest in Russian costume of the seventeenth century. Finally, this article argues that a new wave of popularity of a style in dress that was inspired by Russian folklore was connected with the beginning of World War I.
Regulating Russian Arts and Crafts
Authors: Piters-Hofmann Ludmila 
Published: October 2019

Abstract
On March 10, 1913, the “Second All-Russian Kustar Exhibition” opened in St. Petersburg under the patronage of the Empress Alexandra Fedorovna. The largest display of folk art and kustar goods in Imperial Russia, it was a huge success with the public and significantly shaped the layman’s view of Russian folk art. Although this exhibition has garnered considerable attention within the scholarly discourse, it has mainly been discussed from the critics’ point of view. This article provides complementary insights by reconstructing the organizational efforts that contributed to the public success of the exhibition and by analyzing the reaction of the organizing committee to criticism in the contemporary press.
The Reception of Russian Arts and Crafts in French Art Journals
Authors: Tressol Nathanaëlle 
Published: October 2019

Abstract
This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
The Siamese Concept of Muslims through Mural Paintings
Authors: Raksamani Adis Idris 
Published: October 2019

The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows:

1.
The otherness of Muslims from afar in the late Ayutthaya.

2.
The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii.

3.

The multicultural guests in the Reigns of King Rama iii-iv.

4.
Unity under the royal patronage in the Reigns of King Rama v-vi.

The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.
Taste Terms in the Patani Malay Ethnic Group
Authors: Wongthai Nuntana 
Published: October 2019

This paper reveals the concepts of taste in the Patani Malay ethnic group. Forty-five Patani Malays living in Pattani province, Yala province, and Narathiwat province participated in this study. The analysis uses the framework of componential analysis in ethnosemantics. The results show that there are ten basic taste terms in the Patani Malay dialect: /masɛ/ ‘sour’, /maseŋ/ ‘salty’, /manih/ ‘sweet’, /paheɁ/ ‘bitter’, /lɨcah/ ‘a little bit spicy and causing tongue pain’, /lɨta/ ‘unpleasant taste, sticking on the tongue and causing tongue numbness’, /khɨlaɁ/ ‘astringent’, /pɨdah/ ‘spicy’, /lɨmɔɁ/ ‘nutty’ and / tawa/ ‘bland’. All of them are distinguished by eight dimensions: taste buds, tongue side, tongue tip, acidity, tongue body, pain, tongue numbness, and nuttiness. Besides using each taste term individually to describe tastes of food, Patani Malays also use them repeatedly, combine each taste term together, and combine them with modifiers.
From these ten basic taste terms, there are two taste terms that concern pain in the mouth and on the tongue. These are /lɨcah/ ‘a little bit spicy and causing tongue pain’ and /pɨdah/ ‘spicy’. This reflects the preference for spicy flavours in the Patani Malay ethnic group. It may be due to the influence of using spices and chili in cooking adopted from foreign countries since ancient times. It may also be due to the geographical characteristics of Pattani, Yala, and Narathiwat provinces, which are located along the coast. People, therefore, prefer eating spicy food to keep their body warm and prevent illness.