Relevant bibliographies by topics / Aesthetics of fragmentary

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Aesthetics of fragmentary'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Aesthetics of fragmentary"

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Daraban, Adria. "Representations of the fragmentary in modern architecture." SAJ - Serbian Architectural Journal 10, no. 3 (2018): 157–72. http://dx.doi.org/10.5937/saj1802157d.

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The notion of the fragmentary in philosophical and artistic discourses marks the beginning of modern aesthetics and their detachment from the concept of the whole. This paper illustrates possible resonance fields of the concept of the fragmentary in architecture raising questions such as: Can architecture be a form of expression of the modern condition fragmentaire? Does the notion of fragment develop in architecture in a similar way it did in visual arts, philosophy and literature, or is it being reduced in architecture to a mere form of representation of the fracture? Can the fragmentary be
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Innis, Robert E. "Peirce and Dewey think about art: Quality and the theory of signs." Semiotica 2019, no. 228 (2019): 103–33. http://dx.doi.org/10.1515/sem-2018-0079.

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AbstractMy goal in this essay is not to investigate the sources, systematic applications, extensions, or coherence of Peirce’s admittedly fragmentary remarks on aesthetics, tasks that have been undertaken by others. Rather, I want, with both historical and systematic intent, to draw attention to some important links between Dewey’s aesthetic use of Peirce’s theory of quality and the remarkable, albeit not thematic, reconstitution in Dewey’s explicitly experiential or perception based aesthetics of central Peircean distinctions and typologies that bear upon the putative aesthetic importance of
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Wojda, Aleksandra. "The Opera as a Fragment in the Literary Reception of Carl Maria von Weber’s Der Freischütz (Adam Mickiewicz, Heinrich Heine, Théophile Gautier)." Ruch Literacki 57, no. 5 (2016): 527–46. http://dx.doi.org/10.1515/ruch-2017-0082.

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Summary This article examines the influence of early 19th-century operatic culture on Romantic literature by focusing on the cultural, literary and transmedial (cross-genre) reception of one of the most popular works of the early Romantic opera, Der Freischütz by Carl Maria von Weber. More specifically, the analysis deals with that aspect of its influence which can be described as fragmentary reception. The article argues that examples of such fragmentary reception can be found in the works of Adam Mickiewicz, Heinrich Heine and Théophile Gautier. However, the central argument of this study is
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Torres Rabassa, Gerard. "La representación de la guerra civil y el fascismo en El siglo, de Javier Marías, y O ano da morte de Ricardo Reis, de José Saramago." Abriu estudos de textualidade do Brasil Galicia e Portugal, no. 8 (July 30, 2019): 165–78. http://dx.doi.org/10.1344/abriu2019.8.9.

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This article analyses the representation of the Spanish Civil War and fascism in the novels O ano da morte de Ricardo Reis, by José Saramago and El siglo, by Javier Marías. Both texts respond to a desire to recover national history and at the same time testify to the search for new narrative aesthetics connected with international literary modernity. The novels, written in contexts of both political and literary transition, propose an elliptical, indirect and fragmentary representation of the Civil War. In dialogue with the theories of Mikhail Bakhtin, we will show that these novels try to pro
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Adi Widiastrawan, Nengah, I. Ketut Sudarsana, and Ida Ayu Adi Armini. "Kajian Nilai Pendidikan Agama Hindu Dalam Fragmentari Katundung Sita Pada Pesta Kesenian Bali Ke 38 Tahun 2016." Jurnal Penelitian Agama Hindu 2, no. 2 (2018): 569. http://dx.doi.org/10.25078/jpah.v2i2.662.

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<p><em>The preservation of art and culture in Bali, especially performing arts, has seen a lot of development since the idea of the Bali Arts Festival, the Bali Arts Festival held by the Bali Provincial government and the Balinese Community, is a public space and creativity event for Balinese performing artists to showing their best works of art. In the 38th Bali Arts Festival in 2016,InstituteHindu Dharma Negeri Denpasar performed a Fragmentary story with the title Katundung Sita which is based on the Mahabharata story. This Fragmentary tells about how was the exile of Dewi Sita i
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Squire, Michael. "Art and Archaeology." Greece and Rome 68, no. 1 (2021): 148–58. http://dx.doi.org/10.1017/s0017383520000327.

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I am no doubt showing my prejudice, but I didn't expect a book on Greek acroteria to make for such exciting lockdown reading. Because of their position high up on temple buildings, extant sculpted materials tend to be fragmentary – and hence pushed to the literal and metaphorical corners of modern-day museums. Look to scholarly publications, moreover, and there is a tendency towards classificatory catalogues, markedly less in the way of theoretical discussion (whether about architectural and cultic framing, for example, historical aesthetics, or the intersection between ‘ornamental’ and ‘figur
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Trippett, David. "An Uncrossable Rubicon: Liszt's Sardanapalo Revisited." Journal of the Royal Musical Association 143, no. 2 (2018): 361–432. http://dx.doi.org/10.1080/02690403.2018.1507120.

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AbstractIn 1850, after five years of planning, Liszt began composing music for his Italian opera, Sardanapalo, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notated: almost the entirety of Act 1. This article draws on an array of sources – published and unpublished – significantly to update our knowledge
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ZATTRA, LAURA. "The Identity of the Work: agents and processes of electroacoustic music." Organised Sound 11, no. 2 (2006): 113–18. http://dx.doi.org/10.1017/s1355771806001361.

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An electroacoustic musical work is a complex network of processes and elements: technical, musical, human, etc.; therefore, while the aesthetic perception is unified, its definition is fragmentary. This observation compels us to intensify our study of a taxonomy of agents and processes, with the aim of clarifying the identity of this music.The discussion is positioned according to two different vantage points: (i) analysis of works, and (ii) the writings devoted to the aesthetics of electroacoustic music. Musicological analysis is simultaneously the means, the goal and the motivation for getti
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Davies, Gail. "Searching for GloFish®: Aesthetics, Ethics, and Encounters with the Neon Baroque." Environment and Planning A: Economy and Space 46, no. 11 (2014): 2604–21. http://dx.doi.org/10.1068/a46271.

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Fluorescent zebrafish are the first genetically modified animals globally, if unevenly, circulated outside of laboratory environments. GloFish® were developed in Singapore. They are widely sold as popular pets in the United States, but their public sale is banned in Europe and elsewhere. On the trail of these animals, I trace a fragmentary biogeography through ethnographic encounters in the spaces of scientific research, animal exhibits, pet stores, and art galleries, in Europe, the USA, and Singapore. At each site, as the colour, light, and intensities of neon flicker with the potential for l
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Ruddell, Caroline. "‘Don’t Box Me In’: Blurred Lines in Waking Life and A Scanner Darkly." Animation 7, no. 1 (2012): 7–23. http://dx.doi.org/10.1177/1746847711429632.

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This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and sl
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Dissertations / Theses on the topic "Aesthetics of fragmentary"

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Locke, Brian. "Zemlinsky's fragmentary string quartet from 1927, edition, analysis and aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28608.pdf.

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Thomas, Sophie. "Coleridge : the aesthetics of the fragmentary and the romantic imagination." Thesis, University of Oxford, 1994. https://ora.ox.ac.uk/objects/uuid:71327317-3573-4ed1-b13e-557c9d345585.

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Recent work on the fragment, prompted in part by the disruption of totalities in contemporary theories of writing and textuality, has returned the fragment to legitimacy in literary studies. Literary critics have begun to hail the fragment as the quintessential Romantic "form"-- one which, as D.F. Rauber claims, embodies Romantic ideals and aims more fully than any other. The fragment (in unmistakably high Romantic terms) is said to figure forth the infinite and the indeterminate in a finite, discrete, sequential medium--engaging, furthermore, in an organicist relation with the whole of which
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Simões, Raul Henrique da Silveira. "O triunfo da morte, de Augusto Abelaira: um inventário sintomático, insólito e paródico das antinomias pós-modernas." reponame:Repositório Institucional da FURG, 2010. http://repositorio.furg.br/handle/1/4834.

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Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2015-05-05T17:07:22Z No. of bitstreams: 1 RAUL HENRIQUE AMARO DA SILVEIRA SIMÕES.pdf: 599071 bytes, checksum: ceaafbc09544e952be2cffb28f60da04 (MD5)<br>Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-08T17:42:51Z (GMT) No. of bitstreams: 1 RAUL HENRIQUE AMARO DA SILVEIRA SIMÕES.pdf: 599071 bytes, checksum: ceaafbc09544e952be2cffb28f60da04 (MD5)<br>Made available in DSpace on 2015-05-08T17:42:51Z (GMT). No. of bitstreams: 1 RAUL HENRIQUE AMARO DA SILVEIRA SIMÕES.pdf: 599071 bytes, checksum
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Roy, Nancy. "Le testament de Cassandre ; suivi de L’épreuve initiatrice, esthétique du sublime dans À travers un verger de Philippe Jaccottet et Les Amandiers de Thierry Hentsch." Thesis, 2020. http://hdl.handle.net/1866/25453.

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Dans ce mémoire, tant dans la partie création que recherche, je m’emploie à penser l’expérience du sublime. Je dis « expérience » parce que le sublime n’est ni un contenu ni une forme. C’est le fait pour le sujet d’éprouver et d’épouser ses propres limites, à savoir celles du corps et de l’entendement. Confronté aux bornes de son imagination, il découvre sa vocation métaphysique et aspire à ce qui le dépasse. En un mot, il y va d’une expérience paradoxale, car ce qui vulnérabilise renforce à la fois. J’aborde dans ma nouvelle, Le testament de Cassandre, cette épreuve du sublime par laquelle
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Books on the topic "Aesthetics of fragmentary"

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Shpet, Gustav. Ėsteticheskie fragmenty: Svoevremennye napominanii︠a︡ : struktura slova in usum aestheticae. Librokom, 2010.

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Bruns, Gerald L. Interruptions: The Fragmentary Aesthetic in Modern Literature. University Alabama Press, 2018.

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Interruptions: The Fragmentary Aesthetic in Modern Literature. University of Alabama Press, 2018.

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Fearn, David. Language and Vision in the Epinician Poets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0005.

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This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the p
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Chua, Daniel K. L. Beethoven & Freedom. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199769322.001.0001.

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Beethoven’s music is often associated with freedom. Chua explores the nature of this relationship through an investigation of the philosophical context of Beethoven’s reception and hermeneutic readings of key works. Freedom is arguably the core value of modernity since late eighteenth-century; Beethoven’s music engages with its aspirations and dilemmas, providing a sonic ‘lens’ that enables us to focus on the aesthetic, philosophical, and theological ramifications of its claims of progress and autonomy and the formation of the self and its values. Taking his bearings from Adorno’s fragmentary
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Book chapters on the topic "Aesthetics of fragmentary"

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Bident, Christophe. "Act in Such a Way That I Can Speak to You." In Maurice Blanchot. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0052.

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Examines the part-narrative, part fragmentary work Awaiting Oblivion. The chapter looks at the setting of an interrupted or impossible dialogue between a man and a woman, and examines the experimental aesthetics of the work.
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Shaikh, Fariha. "Fragmentary Aesthetics: Susanna Moodie and Catharine Parr Traill in the Canadian Bush." In Nineteenth-Century Settler Emigration in British Literature and Art. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433693.003.0004.

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Chapter Three focusses on the semi-autobiographical accounts of settlement by Susanna Moodie and her sister, Catharine Parr Traill. It argues that the sketch form as practised by Moodie in Roughing it in the Bush (1852) and by Parr Traill in The Backwoods of Canada (1836), is an attempt to counter the tall tales of success circulating in booster literature. In this way, it takes on the concerns raised in the second chapter of what form is suitable for expressing the experiences of settlement. It argues that the sketch is intimately linked to the female experience of settlement: they could be written in the small hours of the night when the day-time chores were finished and children were in bed. Sketches thus capture a sense of these snatched fragments of time and simultaneously evoke the fragmented sensibility which comes when faced with such new surroundings.
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Samuelian, Kristin Flieger. "The Politics and Aesthetics of Extraction: Cultural Interventions in Blackwood’s and the Imperial." In Romantic Periodicals in the Twenty-First Century. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448123.003.0011.

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This chapter contrasts how two late-Romantic periodicals, Blackwood’s and the evangelical Imperial Magazine, extracted and repurposed material from other sources. It focuses first on J. H. Merivale’s 1819 Blackwood’s articles that translates strategic excerpts from Giuseppe Ballardini’s 1608 Italian miscellany, Prato fiorito. These translations suggest that superstition and religious enthusiasm are fundamental components of European Catholicism. o the Catholic cultures of the Continent. In so doing, they illustrate how a discourse composed of extracts can be simultaneously fragmentary and coherent and how extraction can be a practice of both assemblage and disarticulation. Soon thereafter, the Imperial would follow suit, intermixing extracts from older devotional works with contemporary missionary narratives. Because the focus of the travel writing is often the newest worlds of Australia and New Zealand, the Imperial specifically locates evangelicalism within a project of Tory imperialism.
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Chung, Hilary, and Bernadette Luciano. "Autonomous Navigation? Multiplicity and Self-reflexive Aesthetics in Sergio Basso’s Documentary Film Giallo a Milano and Web Documentary Made in Chinatown." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0014.

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In recent decades, many Italian filmmakers have turned to the documentary medium in response to the lack of commitment by public and private broadcasters to the production of programmes of cultural significance. Unfortunately, the contestable funding available for their production is limited, as is documentary distribution beyond the festival circuit. The emergence and evolution of the web documentary has provided an opportunity for new channels of distribution and increasingly foregrounds the role of the user/viewer in their engagement, interaction, and negotiation with the reality documented. This chapter explores the issues of autonomous navigation, multiplicity, and self-reflexive aesthetics in Sergio Basso's documentary film Giallo a Milano and the associated web documentary Made in Chinatown, in order to understand the new modes of audience engagement provided by this combination of formats. It suggests that embracing the web documentary format triggers the immediate reaction of viewers to sociopolitical issues and creates a new kind of activist reflection, at once discontinuous, fragmentary, and thus open to debate.
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Cassibry, Kimberly. "Along the Border." In Destinations in Mind. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190921897.003.0004.

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A series of colorfully enameled metal vessels name forts along Hadrian’s Wall in Britain. They preserve creative responses to one of the empire’s most ambitious construction projects, a complex fortification system that was never represented in official art. Three well-preserved vessels have been recorded in England and northern France, and more fragmentary examples continue to be registered with England’s Portable Antiquities Scheme. The designs of this expanding corpus draw on six key elements: a vessel shape popular throughout the empire; enameling technology associated with the Celtic peoples of the empire’s northern lands; letters of the Latin alphabet; place names in the Celtic language; a fortified wall motif with precedents in Hellenistic court mosaics; and a triskel motif common in Celtic metalwork. These intricate portrayals conjure a place that was far more than a wall, while illustrating the entangled aesthetics of an evolving borderland.
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Lyamlahy, Khalid. "The Carpet as a Text, the Writer as a Weaver." In Abdelkébir Khatibi. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622331.003.0013.

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“One must look at a beautiful carpet as one reads a page by Aristotle, that is, with the same acute attention”. For Khatibi, the Moroccan carpet is not only a decorative piece that reproduces motifs of Islamic art and combines sophisticated techniques of dyeing, tattooing and painting. It is also a living text, an intricate narrative that requires a specific approach to unravel its hidden symbols and meanings. In From Sign to Image: The Moroccan Carpet, a collective art book written with Moroccan anthropologist and museologist Ali Amahan, Khatibi explores the aesthetics of the Moroccan carpet in relation to ornamental patterns, spatial composition and oral culture. By combining a wide range of references to Islamic texts, Arabic appellations, Berber alphabet and Western writings, Khatibi offers a dynamic conception of the Moroccan carpet as a multifaceted space where artistic creation hinges on the interlacing of coded, fragmentary and imaginary signs. Khatibi’s reading of the Moroccan carpet as a lexis of “intersigns”, which he developed in a conference in 1985, offers a striking illustration of how Moroccan art informs his own process and theory of writing. The circulation of signs in the Moroccan carpet, which is mirrored in the kaleidoscopic composition of Khatibi’s and Mahan’s volume, is enriched with a compelling reference to the idea of desire in creation and reading. Based on a close-reading of this volume in relation to Khatibi’s works, this chapter demonstrates that the Moroccan carpet can be read as a metaphor for Khatibi’s aesthetics that fosters the encounter and weaving of forms, languages, and cultures.
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Pollentier, Caroline. "Between Aesthetic and Political Theory." In Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979374.003.0014.

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This chapter interrogates the utopian troping of Virginia Woolf's pacifism through a theoretical, historical, and rhetorical perspective. At a time when peace projects were condemned as utopian, Woolf’s choice to mobilize utopian tropes was not ideologically neutral. The chapter will first map out the utopia/reality divide that structured the interwar fields of international relations, focusing on the theoretical debate opposing Leonard Woolf to E. H. Carr. A similar unease around utopias became manifest in the interwar literary field, as the upsurge in peace utopias coincided with a growing critique of utopian fiction. This chapter argues that this aesthetic and political polemic between fact and fiction was at the core of Woolf’s writings on peace. Close readings of Three Guineas and "Thoughts on Peace in an Air Raid" will show how Virginia Woolf deconstructed the duality between "utopia and reality" that polarized pacifist discourses of the time. In a mock-utopian tone quite distinct from serious fictional peace projects, Woolf critiqued planned utopias of world peace, such as those devised by H. G. Wells, but also moved away from Leonard Woolf's political idealism. Beyond any fixed oppositions between idealism and realism, between "fact" and "dream," she renegotiated the materiality of hope by repurposing press cuttings and other "fragmentary notes" into archives of the future.
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Ameriks, Karl. "Hölderlin’s Kantian Path." In Kantian Subjects. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841852.003.0012.

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Building upon a close reading of the novel, Hyperion, and references to Hölderlin’s fragmentary essays and letters as treated by the most recent German scholarship, this chapter argues that Hölderlin systematically develops an improvement on Fichte’s and Schiller’s understanding of subjectivity and history. The main aim of his novel is a careful weighing of the alternative ethical, religious, and aesthetic approaches offered to the fundamental German Enlightenment issue of determining the basic “vocation” of humanity. In contrast to other philosophers in the German tradition, Hölderlin sees how overly one-sided versions of ethical or religious or aesthetic approaches can be dangerous, and also how Kant’s notion of an ethics of “rational faith” provides for a balanced and enlightened approach to the aesthetic and religious dimensions of life. Above all, Hölderlin can be understood as working out a way to most effectively realize Kant’s notion of the “primacy of practical reason.”
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Baillie, Justine. "Diasporic Modernism." In Modernist Objects. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979503.003.0013.

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Reading Jean Rhys’s novels alongside the theorizations of the German cultural critic, historian and philosopher Walter Benjamin facilitates enhanced understanding of Rhys’s position as dispossessed Caribbean Creole writer. Rhys’s aesthetic of displacement is modernist in its fractured, fragmentary and elliptical form as she charts the movements and memories of her protagonist Sasha Jensen through the streets of pre-war Paris in Good Morning, Midnight (1939). Sasha’s recollections of the past, its events, ephemera and repetitions, reveal how the notion of renewal through the consumption of the fashionable object of desire is the illusion that belies the myth of progress. In his analysis of the discarded objects of capitalist production and consumption, Benjamin highlights how, in the repetitions of obsolescence, the newly fashionable object, like history itself, is prey to deadly repetition despite the narrative it conveys, that of human progress towards perfection. Reading Rhys and Benjamin together, then, invests Rhys’s work with a significance that goes beyond its surface appearance of the individualistic, tragic descent of a particular woman. Sasha Jensen is adrift in a city of objects which offer only fleeting consolation for the dissolution of identity and repetitions of history.
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Graff, Rebecca S. "Embers from the House of Blazes: Fragments, Relics, Ruins of Chicago." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0013.

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Fragments imply a former whole, and ruins invoke a material landscape once cared for and conserved, now neglected. What meaning is conveyed when fragments of formerly whole structures—ruined or plundered as ‘relics’—are incorporated into new ones, devoid of prior context? Does an aesthetic appreciation for in situ ruins also relate to interest in their fragments? This tradition of, and fascination with, reusing and recontextualizing fragments of ruined structures spans the broad sweep of time from antiquity to the present day (see also Shanahan and Shanahan, Chapter 5). Rome’s Arch of Constantine (erected 315 CE) incorporated fragments from the arches of Hadrian and Marcus Aurelius, visually and materially connecting their collective glory to the new reign. Such reuse is found plentifully in indirect gestures, such as the Beaux-Arts municipal buildings of the United States that draw stylistic influences from classical antiquity, as reimagined in the Italian Renaissance and incorporated into the nineteenth-century architectural canon. Still other examples of direct reuse of fragments, such as architectural fragments from New York’s World Trade Center that have been incorporated into myriad 9/11 monuments, are often a way to commemorate the tragic circumstances that created such ruins, reminding us how the materiality of age, added by narrative and even literal labels, provides a space for nostalgic reminiscence or communion with an event that might be personally distant, though emotionally compelling just the same (see White and Seidenberg, Chapter 1, for discussion of a similar phenomenon in Berlin). Inspired by the increasing impact of contemporary archaeology on considerations of materiality, temporality, and erasure within archaeologically produced ‘present pasts’ (see Harrison et al. 2014), this essay focuses on two cases of creative reuse of fragmentary architectural and building materials in Chicago, one still extant, and the other no longer even a ruin. The first case, once made of ‘ruins’, has been demolished and, more significantly, erased: the Relic House, built in 1872 from ‘leavings’ of the 1871 Chicago Fire. Serving as a saloon, salon, and speakeasy until its demolition in 1929, the Relic House drew guests who wished to commune with the ‘ruins’ of the tragic fire in a space mediated by recreational consumption and novelty. One of these uses included a venue for the bohemian Dill Pickle Club, whose founder renamed the structure the ‘House of Blazes’, evoking its fabrication from Fire debris.
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Conference papers on the topic "Aesthetics of fragmentary"

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Merzlyakova, Svetlana, and Marina Golubeva. "IDEAS ABOUT MARRIAGE DEPENDING ON THE STRUCTURE OF VALUABLE ORIENTATIONS OF WOMEN IN EARLY ADULTHOOD." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact049.

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"The phenomenon of marriage is one of the little-studied questions of family psychology. The resolution of the contradiction between the need of modern society to form complete and adequate ideas about the marital role among students and the need to identify socio-psychological factors that influence the development of ideas about marriage determines the problem of research. The purpose of the study is to identify the features of ideas about marriage (Ideal husband, Ideal wife) depending on the structure of valuable orientations of young women in early adulthood. Methods of research. Theoretic
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