Academic literature on the topic 'Texas, East – Pictorial works'

The material of S. Ya. Alymov’s poetry collection “Kiosk of Tenderness” (Harbin, 1920) and various detached poems of the author, preserved only on the pages of the press of the Far East (Vladivostok and Harbin) in the early 1920s is analyzed in the article. It is noted that access to the currently unknown works of S. Alymov is possible only in regional archives. The scientific novelty lies in the fact that for the first time the writer’s texts are used, which are stored in the materials of the collections of the Russian State Historical Archive of the Far East and the State Archives of the Primorsky Territory. It is shown that S. Alymov is perceived by the author as one of the original representatives of the Silver Age poetry. The author of the article comes to the conclusion that the creative strategy of S. Alymov, based on the desire to be a follower of famous contemporary poets, was deliberately based on various kinds of imitations and stylizations. It is argued that this is not about epigone copying — individual assimilation of the new was conditioned by the picture of the world and the culture of the writer, which were formed in the richest traditions of the Silver Age (literary, musical, dance, theatrical, pictorial).

AbstractExtreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.

The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.

AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?

The use of bioengineered tissue and topical subatmospheric pressure therapy have both been widely accepted as adjunctive therapies for the treatment of noninfected, nonischemic diabetic foot wounds. This article describes a temporally overlapping method of care that includes a period of simultaneous application of bioengineered tissue (Apligraf, Novartis Pharmaceuticals Corp, East Hanover, New Jersey) and subatmospheric pressure therapy delivered through the VAC (Vacuum Assisted Closure) system (KCI, Inc, San Antonio, Texas). Future descriptive and analytic works may test the hypothesis that combined therapies used at different and often overlapping periods during the wound-healing cycle may be more effective than a single modality. (J Am Podiatr Med Assoc 92(7): 395-397, 2002)

Abstract Factor V has recently been observed to act as a synergistic anticoagulant cofactor in the activated Protein C (APC) pathway; however, the importance of factor V’s anticoagulant nature in vivo is poorly understood. A novel autosomal dominant bleeding disorder, which is characterized by excessive bleeding with trauma or surgery and menorrhagia in affected women, was identified in a large family (16 affected individuals) from east Texas. Affected members had a prolongation of their PT and/or aPTT. Clinical studies indicated normal activities and levels of all coagulation factors. Linkage analysis mapped the defective gene to 1q23–24 (LODmax 7.33), which contains the gene for coagulation factor V (FV). An alteration (A2440G)in the FV gene in exon 13, which encodes the entire B-domain of the wildtype protein, segregates with disease and was not present in 62 controls. Interestingly, this alteration falls on the 5′ splice site (TA/GT) of an alternative splicing variant confirmed by RT-PCR of control liver and leukocytes. Furthermore, immunoblot analysis demonstrated that this splice variant produces a low abundance, 250kD isoform of FV in control plasma. The A2440G alteration can theoretically form a higher efficiency consensus site for splicing (TG/GT). Semi-quantitative RT-PCR confirms this improved efficiency with an increase of splicing seen in patients’ RNA from leukocytes (n=3) versus controls (n=3). This translates into an approximately 20-fold increase in the 250kD isoform of FV seen in patients’ plasma (n=6) versus controls (n=5), while wildtype FV levels remain equivalent. Co-precipitation with Vitamin-K dependent coagulation factors from patient plasma suggests that this isoform interacts with known FV-interacting proteins (Figure 1). A recombinant of this splicing event (FV-703) exhibited normal activation by thrombin and normal prothrombinase activity when compared to the wildtype recombinant. Thrombin-activated FV-703 also showed normal degradation by APC, while intact FV-703 displayed an increased sensitivity to APC that was more striking in the presence of PS (Figure 2). We hypothesize that this novel isoform has a stronger affinity for APC in the presence of PS than wildtype FV and works primarily as a cofactor in the APC pathway to heighten the overall anticoagulant activity in the bloodstream. These data indicate that A2440G up-regulates an alternatively spliced transcript of FV, and increases a FV isoform that hinders coagulation as opposed to promoting it like its wildtype counterpart. As verified by this unique mutation, this novel alternative splicing of coagulation FV is an important physiological event that can result in disease if its delicate balance is disrupted. Figure 1: Immunoblot analysis. 8% SDS-PAGE analysis of proteins eluted from aluminum hydroxide Lanes 1 and 7 are protein standard size markers. Lanes 2 and 3 are unrelated controls. Lanes 4–6 are related, unknown disease status patients without the disease haplotype. Lanes 8–10 are related, unknown affected status patients with the disease haplotype. Lanes 11–13 are affected individuals with disease haplotype. FV was detected using monolconal against the heavy chain (AHV-5146), and the Arnerrham ECF Western Blotting Detection Kit was used to develop the western blots. Mr indicates molecular range. Figure 1:. Immunoblot analysis. 8% SDS-PAGE analysis of proteins eluted from aluminum hydroxide Lanes 1 and 7 are protein standard size markers. Lanes 2 and 3 are unrelated controls. Lanes 4–6 are related, unknown disease status patients without the disease haplotype. Lanes 8–10 are related, unknown affected status patients with the disease haplotype. Lanes 11–13 are affected individuals with disease haplotype. FV was detected using monolconal against the heavy chain (AHV-5146), and the Arnerrham ECF Western Blotting Detection Kit was used to develop the western blots. Mr indicates molecular range. Figure 2: Degradation of FV by APC +/− PS. Recombinant wildtype FV and FV-703 were incubated with varying amounts of APC in the absence or presence of 100nM PS for 10 minutes at 37C. After stopping the reaction by dilution, the samples were activated with thrombin and tested in a PTase assay for undegraded FV activity. Figure 2:. Degradation of FV by APC +/− PS. Recombinant wildtype FV and FV-703 were incubated with varying amounts of APC in the absence or presence of 100nM PS for 10 minutes at 37C. After stopping the reaction by dilution, the samples were activated with thrombin and tested in a PTase assay for undegraded FV activity.

The paper introduces into the scientific use a zoomorphic image revealed during the excavation of the kurgan no. 10 of the burial ground Ashutasty-1. The monument was researched by the expedition of the Institute of Archaeology named after A.Kh. Margulan which was under the guidance of the group of authors in 2015. The materials received due to the analysis of funeral ceremony features, as well as a type of the bronze tip date back to VII-VI centuries BC. Geographically the studied complex is located within the west wing of the vast historical and cultural region Saryarka stretching from Shyngystau in the east to Ulytau in the west. Delineated area coincides with the geographical location of the Tasmola cultural monuments, revealed and introduced by a well-known Kazakh archaeologist M.K. Kadyrbayev. The analyzed image of feline predator Ashutasty-1 have close analogies among the materials obtained during the excavation of the Saka time burials such as Akbeit, Baike-2, Karashoky, Taldy-2. The research works were conducted under the direction of A.Z. Beisenov. Pictorial monuments are known among the antiquities of the synchronous range monuments: Jetysu (Jalauly), Southern Aral area (Tagisken, Uigarak), Kazakh Altay (Tarasu), Southern Ural (Kichigino) and Tuva (Arjan-2, Kosh-Pey, Kuilug-Hem-1).

As Margaret Meriwether notes in her Introduction to this well-crafted study, until recently there has been little history of the Middle Eastern family. There were “histories of families,” which is not the same as a solidly researched sub-discipline within the broader field of Middle Eastern history, because these “did not deal with the family as an institution, its evolution over time, nor the relationship between family and society” (p. 2). The difficulty derives in part (as it does for other sub-fields of Middle Eastern history, particularly social history) from problems of sources that are partial, limited, or sometimes non-existent, and often where they do exist are unavailable. There are few written records on certain subjects, particularly private lives. Scholars of social history and anthropology have relied increasingly on the use of Islamic court records as sources for social history. The growing body of works produced from this scholarship has been highly sophisticated, nuanced, and exciting, opening windows into the history of private life in the Middle East. This book is a welcome contribution to this growing field of scholarship.

The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and values of ethnoculture are represented in a figuratively-artistic form. The methodological value of philosophy of ethnoculture is revealed for the construction of conceptual paradigms and conceptual tools of ethnoculturology and culturological regional studies. The concept of ethnoculturography as representation of ethnoculture in artistic images of literature and art is entered in modern sciences about the culture for the first time. In particular, ethnographic approach to artistic creativity is analyzed on the examples of painting of well known Ukrainian artists Olha Petrova and Anatolii Furlet. The author understands ethnoculturology as synthesis of scientific artistic reflection that combines knowledge of ethnocultures with their pictorial reproduction by means of artistic and aesthetical facilities. For instance, ethnoculturography in painting requires a special type of discourse, where metaphysics, aesthetics, semiotics and chronotopes of the region are crossed with artistic vision, individual practice of the artist. In works of Anatolii Furlet it is manifested through artistic restoration of the mystic world of ancestors connected with "A Stone Grave" near Melitopol − one of the oldest monuments of world and national culture. For ethnoculturology of Olha Petrova the "spirit of nation" in its multicultural measurements was presented at the exhibition "Other Shores". Five "shores" of spiritual oecumene of the artist (France, Spain, Ukraine, Arabic East, Japan) outline ethnic horizons of her real and virtual travels in space and time of Eurasian cultures. Consequently, ethnoculturology practically becomes an original guide-book, a road sign (vade mecum) in the world of ethnocultures.

The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutionary modifications of the solution of plastic-choreographic scenes of musical and theatrical works in accordance with the aesthe-tic concepts of different stages of the formation of the Ukrainian national opera school. Research methods. In the context of an integrated intersectoral approach at the junction of philosophy, sociology, psychology, cultural studies, musicology and theatre studies, comparative and art history research methods are chosen as determinants. Their use makes it possible to determine the similarity and difference between genre-style interpretations of dance scenes in accordance with the theatrical aesthetics of a particular time. The main results and conclusions of the study. The article examines the process of formation of dance scenes in the historical context of the development of the Ukrainian opera school. The features of the use of dance at different stages of the formation of the national repertoire in various configurations of the Ukrainian musical theatre from its origins to the present day are outlined. The fundamental principles of the interpretation of dance in Ukrainian opera, laid down in the predecessors of the national musical theatre – old games, a puppet nativity scene, baroque school drama, palace theatres of Ukrainian, Polish, Russian magnates of the era of classicism, are character-rized. The evolutionary modifications of the plastic-choreographic solution of opera performances against the background of the genesis of the Ukrainian musical theatre are analyzed. The well-established key approaches to the interpretation of dance scenes in the Ukrainian opera are determined, mainly the positive role of choreography in solving the musical drama of the performance. The author highlights the differences between Ukrainian opera content and Western European and Russian traditions, where vocals as the personification of a person's soul or the image of a friend, and dance as the embodiment of temptations or the image of an enemy are quite often in opposition to each other. The specificity of the interpretation of dance in the Ukrainian opera through the prism of its historical formation is clarified: from the use of divertissement samples of the times of classicism through illustrative and pictorial eras of romanticism, efficiently expressive epochs of realism and Soviet reality to conventionally symbolic, conventionally abstract in the culture of modernity and postmodernism. Different approaches to the solution of dance in opera performances in evacuation and in the occupied territories with distinction in the East and West of Ukraine have been established. The conceptual approaches of the genre-style interpretation of dance scenes in the Ukrainian opera are revealed in accordance with the theatrical aesthetics of a particular time. Attention is focused on the prospects for the emergence of new genre-stylistic forms with the gravitation of their plastic-choreographic solution to neosyncretism.

This thesis examines similarities in photographs made by the contemporary photographer Keith Carter and photographers active with the Farm Security Administration during the 1930s. Stylistically and in function, works by Carter and these photographers comment on social and cultural values of a region. This thesis demonstrates that many of Carter's black and white photographs continue, contribute to, and expand traditions in American documentary photography established in the 1930s. These traditions include the representation of a specific geographic place that evokes the spirit of a time and place, and the ability to communicate to a viewer certain social conditions and values related to such a place.