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RU
Sociologists and psychologists of the beginning of the 21st century, while analyzing value settings of a post-Soviet person, mark gradual westernization and moderniza-tion on one hand, and formation of neo-traditionalism and neo-conservatism in the conscience of the youth on the other. How the conflict of the new components of the axiological pyramid contradicting with its inherent elements of the old code in the conscience of the youth oftentimes evolved in their conflict with themselves, in disen-franchisement and resentment of the time and their actions, is reflected in the stories and the novels by S. Minayev, A. Snegirev and K. Khoutsishvili, whose works this article analyzes.
PL
This essay deals with two visual art portraits by the painter Josip Vaništa and the sculptor Antun Babić. The subject is Antun Gustav Matoš, whom each artist depicts according to his own artistic vocabulary and visual language. There is a difference in both the form and the motivation. For Josip Vaništa, A.G. Matoš announced the dawn of Croatian modernism, which was his painterly point of departure, while for A. Babić, A.G. Matoš was a literary figure who belonged to s specific physical space.
EN
Following its independence in 1956, Sudan confronted the tasks of constructing a distinct national identity, establishing effective governance and economic systems, and addressing internal ethnic conflicts stemming from the condominium era. In terms of ethnicity, the post-colonial history of Sudan can be segmented into two phases: sectarian politics, primarily observed in northern Sudan from 1956 to 1999, with the south not experiencing sectarianism in the same manner; and ethnic politics prevalent in South Sudan from 1955 to 2011 and in North Sudan from 1999 to the present. However, the postcolonial history of Sudan is actually a replay of a set of patterns that kept governing the politics of the country for centuries.
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