Academic literature on the topic 'Creation (Literary, artistics, etc.) Self-portraits'

The bibliography of literary criticism and essays (articles, reviews, literary portraits and parallels, critical and biographical essays, etc.) by Arkady Semyonovich Dolinin (1880–1968), first published here, gives an idea of the field of interest of a great Soviet literary critics before the beginning of his scholarly activity, in the first decades of the XX century. The paper traces the path of Dolinin - literary critic, his appeal to the classical (F.M. Dostoevsky, L.N. Tolstoy, A.I. Herzen, etc.) and modern (A.P. Chekhov, B.K. Zaitsev, F. Sologub, D.S. Merezhkovsky, etc.) literature, his artistic and aesthetic preferences (from realism to modernism), and his religious and philosophical quest against the background of social and political struggle during the First World War, the Revolution and the Civil War. The paper gives an analysis of Dolinin's method: biographical and psychological approach, Critical attitude to the sociological (“pypinism”) and formal- aesthetic (“shklovskism”) methods, comments on the ideological and creative relations with S.A. Vengerov, his teacher at Petrograd University. Special attention is paid to Dolinin's intensive critical work in 1918 –1920 in the Arkhangelsk newspaper Renaissance of the North, where he chronicled Russian literary life at a historical turning point, reflecting on the works of V.V. Rozanov, L.N. Andreev, A.M. Gorky, A.M. Remizov, A.A. Blok, etc. An important achievement of Dolinin was the discovery of young, still unknown talents: L.M. Leonov, B.V. Shergin, A.V. Tufanov.

Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russian, and, especially, Ukrainian culture, because his life for 36 years was related with Ukraine. The temporal distance that has formed between the eras, the changes in cultural paradigms that have now taken place, encourage us to rethink the approaches to the various cultural-creating activities of artists in past eras, to evaluate them from modern positions. If we consider multiculturalism in a positive sense – as a phenomenon of social life characterized by coexistence and active interaction within one society of many cultures, then the analysis of Szymanowski’s creative evolution in this context looks relevant for modern cultural figures. At the same time, in Ukraine, there has not yet been a steady interest of scientists in the work by K. Szymanowski, although certain steps are being taken in this direction: PhD theses by Anatolii Kalynychenko, Hanna Seredenko, Oleksandr Serdiuk, Dmitriy Poliachok have appeared that explore some aspects of the Polish artist’s creativity, taking into account modern methodological tools. An important function of stimulating interest in the creative figure of Szymanowski is performed, in particular, by the “Kropyvnytskyi Museum of Musical Culture named after K. Szymanowski” (headed by Olexandr Polyachok) that initiates various projects related to the popularization of Shimanovsky’s creative heritage, including holding scientific conferences and publishing. A significant contribution to the study of various aspects of the K. Szymanowski’s creative activity was made by Polish scientists, in particular, Malgorzata Komorowska, Zofia Helman, Teresa Chilińska, but their works are in a greater degree focused on the analysis of the musician’s creativity in the Polish cultural context. Objectives of the study. This article is destined to examine the creative personality of the Polish artist in a new problematic field. The purpose of the study is to identify the features of the creative formation and growth of K. Szymanowski in the context of multiculturalism. The object of analysis is the creative activity of K. Szymanowski; the subject, on which the attention is focused, is the peculiarities of cultural and creative attitudes formation, the principles of artistic activity, the means of cultural communication of K. Szymanowski in the conditions of multiculturalism. Research results. The scientific novelty of the research consists in the identification of little-known facts of the creative biography of K. Szymanowski and their new interpretation, the formation of new ideas about the specifics of his creative approaches both in composing and literary work. The important role of self-education in his creative development, the ability for self-development, conscious cultural pluralism formed in the context of multicultural conditions, a tendency to innovate (for example, intense interest in new artistic and stylistic trends) are emphasized. Attention is drawn to the originality of Szymanowski’s relationships with various cultural environments, with which he was closely linked by fate. After all, his formation as a personality took place under the influence of several cultures, the features of which were intertwined, coexisting in the everyday life of his family estate in the Ukrainian village Timoshivka and Elisavetgrad, the city of his childhood and youth. The significant influence of regular visits to European cultural centers and travels to the countries of the Arab East on the formation of the cultural identity of the artist is also noted. The analysis of archival materials, in particular, comments in the margins of the pages of books from the family library, showed the enormous influence of literary texts on the composer’s cultural identity. Szymanowski carefully read, thought over and discussed with his close ones literary works, various works of philosophers and art historians. Szymanowski’s archives contain notes on the history of art of Ancient Greece in French, the history of the culture of Ancient Rome in German and Russian, extracts from the history of the origins of Christianity, the culture of Sicily and the life of King Roger II, notes from the letters by Seneca, Leonardo da Vinci, Machiavelli, works of Novalis, studies on oriental culture, etc. The composer was fascinated by the ideas of the synthesis of cultures (Ancient Greek, Ancient Roman, Byzantine, Arabic, Proto-Slavic), of religious syncretism in various forms (Christian modernism, paneroticism, etc.). Embodying his creative intentions, Szymanowski went through a fascination with a wide variety of aesthetic ideas. In the process of realizing artistic synthesis, along with the idea of cultural syncretism, signs of aesthetics of romanticism and impressionism, symbolism and modernism, expressionism and neo-folkloric trend often coexisted and intersected in his works. As a conclusion, we note: the creative formation and evolution of K. Szymanowski took place in multicultural conditions. Realizing himself a descendant of the Polish gentry family, he was at the same time a citizen of the Russian Empire and was formed as a person under the influence of many cultures, which were intricately intertwined in the space where the formation of his individuality took place, which, eventually, determined the multicultural profile of his artistic work. Szymanowski’s cultural positioning we propose to consider, to a certain extent, according to the formula: “one of our own among strangers, a stranger among our own”, because his creative searches, in which the polylogue of cultures acquired signs of multiculturalism, were not always perceived adequately by his contemporaries, especially in those cultural centers, where the traditional values of the national culture were considered priority. The artistic, aesthetic and cultural paradigms of the 21st century turn out to be largely consonant with those that determined the creative preferences of the Polish artist, which leads to the actualization of the creativity of the latter in the conditions of the dominance of the postmodern situation in the contemporary cultural space.

The books’ role in the German Enlightenment discourse explores the intersection of different but complementary disciplines: bibliology, philosophy of culture and «text linguistics», as well as the history of literature that expands the possibilities of studying cultural and public communication. A text (magazine, book) is interpreted as a mechanism that controls the process of learning and understanding. To illustrate the study theoretical foundations, the author considers the historical practice of the literary era in Germany in 1770-1790. The struggle of «cilturtregers» to renew German culture moved from the political sphere to journalism and literature. The author concludes that the book (both scientific and artistic) and reading became a factor of social communication. The struggle for the renewal of German culture, its national identity preservation due to a number of historical reasons hindering the development of the country moved from the political sphere to the journalism and literature field. It was closely connected with the whole complex of the European Enlightenment ideas. The book - both scientific (philosophical work, art treatise) and artistic one (literary and journalistic composition, dramatic creation, etc.) became an indispensable tool of the nation aesthetic education. In such circumstances, a book obtains the significance of not only the «source of knowledge» but a kind of «catechism» to struggle for national culture. Thus, considering a book text as a phenomenon of the German culture of the Enlightenment century with ideological and aesthetic significance, it should be especially notes that such a «text» (a book of scientific, philosophical, moralistic or artistic content) is addressed both to a specific reader, a representative of some class, and to a «collective reader». The German novel (it is the genre of «trivial» literature that is considered directly) is a product of the era. The dialogue «author - reader» (or a complicated triad «author - publisher - reader») was the basis of the nation estetic education. Reading became a fact (and a factor) of social communication. The German book has been transformed from an expensive and exclusive «source of knowledge» targeted for scientists, connoisseurs of «beauty» to a catechism (available for the ordinary reader) of the national struggle to preserve the German culture self-existence and to acquaint the nation to the treasures of the world classical «ancient» and modern literature.

The article aims at presenting the project Russian Orientalism (Science, Art, Collections), conducted by the team of researchers from the KunstkameraMuseum (St. Petersburg). We offer the reader an interpretation of orientalism, as having an inner unity of the way of perception and vision of the East, its co-creation, expressed in a wide variety of aspects: professional and scientific, artistic, everyday, etc. The resulting book shows that Russia's and “Orient” mutual history testifies to a continuous dialogue, through which we, realizing our dissimilarity, try to understand not only the Other, but also ourselves, through our reflection in it.

Background. Actuality of the research theme. The awareness of the importance of mastering the treasures of the native language is dictated by the rapid development of modern Ukrainian statehood. The problems of artistic culture are very acute today, and the educational role of national literature, theater, cinema, broadcasting, television in modern society is increasing. One of the ways of forming a linguistic culture is the constant contact of the country’s population with the artistic word presented at the appropriate professional level. Therefore, the professional skill of the artist-actor as the bearer of the artistic word and the direct interpreter of cultural values embodied in the artistic work becomes of great importance as a means of fulfilling this vital aesthetic-educational mission. Thus, the study of the process of improving the actor’s professional skills of the stage language, the ways of optimizing of modern education in this field seems very relevant. Analysis of recent publications on the research topic. The problems of the culture of speech, the expressiveness of the oral word, the creative nature of the artistic language and its contemporary sound on the stage are highlighted in many scientific works of theatrical teachers, linguists and theatrical scholars, psychologists and sociologists. The special investigations in the field of stage language in recent years are the works of the practitioners of artistic word, the Ukrainian actors and teachers R. Cherkashin, Yu. Sheyko, L. Vazhniova, A. Gladysheva and others. So, Yu. Sheyko pays much attention to the norms of Ukrainian oral literary speech, and insists on the need for the development of the intelligence of a contemporary actor. As the techniques of speech are an integral part of the learning process, the tutorials of L. Vazhniova and A. Gladysheva are devoted to the development of skills of high-artistic embodiment of the work. However, the special studies devoted to the formation of actor voice skills as part of the process of understanding the important role of punctuation marks in the artistic interpretation of the work were not carried out. Methodology, goals, objectives, practical value of the research. The combination of training and creative aspects of the theory and practice of the stage language requires a great deal of methodological flexibility. The proposed article, devoted to the improvement of the actor’s educational activity on mastering the skills of the stage language, uses a complex methodological base, which combines a wide cultural and highly specialized, purely methodical, approaches to the analysis of the process of work on the acquisition of practical skills of the stage language. The first involves entering adjoining artistic spheres – literary and musical; the second refers to concrete – to the practice of stage action. Their combination allows us to construct an optimal algorithm for the work of the actor over the interpretation of artistic text within the framework of the study, which is his goal. Such an algorithm, aimed at perfect mastering the heights of professional skill, can be used successfully in the acting practice of the stage speech. The results of the study. The article emphasizes the importance of the stage of analytical work with literary text, both in a broad historical and stylistic context, and in details, in order to “appropriate” the position of author of the work and, further, create self-own actor’s interpretation. A versatile analysis of the text, preparing it for reading, can be done in this way. 1. Determine the type of work – is this the entire work or a fragment; if this is a fragment, then what is exactly? (Excerpt from the poem, a passage from the ballad, prose, etc.). 2. Having defined the species, it is necessary to give the work the cultural and historical characteristic (at what time it is written, to which national culture belongs, on which social ground it arose, what is the outlook and life positions of the author of the text and peculiarities of his work, the place of work in the author’s creativity, the distinctive features the era in which the author worked, and the one about which the work tells, is the text original or translated etc.). 3. To carry out the ideological-thematic and plot analysis of the work, to determine its main idea, to disclose in connection with it the logical content of the text, to determine what kind of plot vicissitudes prevail. 4. To analyze, how much the author turns to sensual, visual, auditory phenomena. 5. Identify and “view” the spectacular content of the text. 6. It is necessary to understand what the form of a work is, which stylistic and author’s techniques are used to create an artistic whole. 7. On the basis of such a detailed analysis, one should check the first impression of the whole and redefine the content-like structure of the work. 8. Determine the personal attitude to the work. 9. To work on the “vision” of the text. 10. Based on our findings and in depth study of the work, we should outline the line of the dynamic and tempo-rhythmic interpretation of the work. Assistants of the actor in the awareness of the author’s intention become punctuation marks, which also mark the way to artistic expression of speech. Like a musician, an actor should distinguish them by intonation: by changing pitch, volume, tempo, rhythm of speech. Therefore, in our opinion, the creative using of analogies with musical syntax (pauses, leagues, rubato, etc.) and with performing touches of a musician (legato, marcato, etc.) is appropriate in working on the stage speech. The next key point in creating a convincing stage interpretation is his own acting “visions” (K. Stanislavsky’s term), which the performer creates in his imagination based on his previous sensual, intellectual, life experience. Tied to a verbal text, they make it possible for an actor to experience an emotoin of such a force that is able to establish “feedback” with the audience at the time of the stage embodiment of the work. Conclusions and perspectives of the research. The presence of a “feedback” with audience is a prerequisite for the fact that the stage speech, as a special kind of literary language and, at the same time, a socially prestigious form of communication, forms a linguistic culture. It is inextricably linked with the development of society and is the bearer of language traditions of the people. Therefore, the prospects of studying the speech art are seen in the ways of its improvement: the creative decision of the main tasks of the course of the stage speech, the most important of which is a full and meaningful presentation to the audience of art intention through a set of skills aimed at voice expressiveness, precision of diction and clarity of pronunciation in the process of theatrical communication. Punctuation is the way to expressive speech. Punctuation marks discipline our language, and this must be remembered by everyone – students, actors, everyone who is working on a language, because excessive hastiness is the greatest enemy of beginners.

The article is devoted to the research of the context of the author’s view in the architectonics of antiwar novels of the mentioned authors. The signs of a real military type, which appeared in the time on the pages of the humanities in the aspect of rationalism and individualism, are found out. The essence of the “lost generation” is characterised in philosophical, historical and aesthetic aspects. It is proved that the artistic system of anti-war novels is characterized by the dominant way of introducing the author’s view of the story. Aspects such as the author’s attitude to war disasters, the epic tone of the story, the aesthetic concept of the artist, his sociological, historical and psychological views are analysed. The objective-historical point of view, according to which narration extended the boundaries of space, created the background of time, overcame the static of the narrative, deepened the principle of mimesis, is investigated. The peculiarities of the authors’ artistic systems and some of their creative principles, the subjective interpretation of the feelings of the characters have been found out. The skill of each artist in reproducing the inner world of the characters under the influence of the bloody events of the war is outlined. The key words of novels, which serve as generalized forms of imaginative consciousness, as well as their influences on the artistic and psychological nature of the works, are characterised. The functioning of the author’s language of anti-war novels and the peculiarity of oral and written and professional language are traced. The stable correlation of the analysed novels with the most actual problems of the socio-psychological atmosphere of a specific historical era is studied. The originality of the writers’ literary world is revealed, the originality of their thinking is emphasized and the dominant typological similarities and differences are characterised. In studying the structure of the analysed novels, the peculiarity of the conciseness of the collective portraits, in which all the emotional and psychological capacity of each component is reproduced, is traced. It is emphasised that the context of the author’s view also manifests itself through various extravagant elements (authorial indentations, descriptions of exteriors, titles, epigraphs, etc.), which along with the story aspect of the novels give them artistic completeness and integrity. In addition, the specifics of the author’s language of anti-war novels are studied.

The prototype of the central character in Inga Ābele’s (1972) award winning novel “Klūgu mūks” (Wicker Monk, 2014) is Francis Trasuns (1864–1926), a well-known Latgalian patriot, catholic priest, politician, cultural and social figure and writer. The novel is set at the end of 19th century and early 20th century, during the time of the National Awakening. F. Trasuns was one of the most significant personalities in the history of the first Latgalian awakening in St Petersburg. He contributed greatly to the creation and promotion of Latgalian self-confidence, spiritual and cultural development and political growth. He was the first Latgalian ever to be elected to the national parliament – State Duma of the Russian Empire. The private life of F. Trasuns was dramatic, difficult and marked by conflicts. On September 20, 1925, he was officially excommunicated – banished from the Catholic Church. He was accused of arrogance, defiance of his religious authorities, wearing civilian clothes and concubinage. The myth about F. Trasuns enjoying undivided social support in the last years of his life emerged soon after his death, when he became a symbol of struggle against ignorance and blind devotion to clerical dogmas. The educational and literary heritage of F. Trasuns (sketches, literary portraits, poems, a play, translations and feuilletons) should be understood as commentaries to his views, convictions and activities. The cultural philosophy of Richard Rorty and Euclid’s five geometrical axioms were used in the analysis of the novel to prove the symmetry of relationship between men and women characters. The symmetry of characters is revealed through the metaphor of wicker weaving (for example, a basket) that expresses many meanings including a parallel, cross, circle etc. Wicker weaving in the novel symbolises the product of a natural material and human work – interaction of nature and culture – the main condition for the existence of a small nation.

Victor Sokolov’s article «Genesis and features of the functioning of illegal libraries in Ukraine: historical and socio-political factors» examined the peculiarities of formation, characteristics and peculiarities of illegal libraries, as well as socio-political factors, social conditions and main directions of these collections, mainly in Ukraine. The purpose of the proposed article is to identify and study the characteristics of illegal libraries, study their types, analysis and generalization of information about the peculiarities of the creation and operation of these collections in Ukraine, as well as characteristics of the main forms and directions of their activities. In his work, the author widely used general scientific and historical research methods: comparisons, analogies, deductions, descriptive, analytical, typological methods, as well as historical-comparative, historical-genetic and other methods of scientific research. The author proved that the most developed were the illegal libraries of political organizations and circles, which collected literature from various fields of knowledge, but most of them were publications in the social sciences (history, philosophy, sociology, etc.). Many illegal libraries, including marxist organizations and circles, were interconnected in centralized systems. In terms of the number of books, the funds of some illegal libraries of political organizations can be compared with the funds of public, church-parish, county and township libraries. However, most of them had up to 300 books. However, their activities had a certain impact on the socio-political life of society, on the formation of consciousness, cultural and educational level, mostly, the lower strata of the population. It was found that in the context of police persecution, «employees» of illegal libraries quickly adapted to new circumstances and needs of readers and often changed the forms, methods, principles of work in order to steadily pursue the main line of these collections – to disseminate certain ideas and principles of public life. Illegal libraries often operated under the guise of self-education, literary and artistic, public, women’s, family and leisure, educational and other societies and clubs. In general, they were characterized by the presence of almost all organizational and structural subsystems that had official public libraries: they had a fund of various types of documents, a catalog, a contingent of readers, facilities, library staff and documentation. In illegal libraries, for the first time, active forms and methods of book promotion were born, which were used and researched during communication with users of book collections, whose reading needs were also periodically studied. It was found that illegal libraries, including political organizations and circles, performed both educational and ideological tasks, and organizational (they became organizational centers of political struggle, in particular the premises of illegal libraries were a place of appearances, a point of agitation and propaganda, storage of revolutionary literature, etc.). A study of the history of illegal libraries, in particular, political organizations, educational and cultural-educational societies, proves that certain democratic, progressive elements of library development were formed in their activities, some of which were inherited and developed by domestic library science and practice.

The paper focuses on the madness as a theme and plot in Ukrainian literature of the 1st half of the 20th century. The researcher analyzes ideological and aesthetic tendencies associated with the understanding of the madness phenomenon, clarifies its functional features, symbolic and ideological significance, and emphasizes the connection between the psychological atmosphere of the totalitarian reality and literary interpretations of madness. The analysis involves works of different genres, styles, and dates of writing in which the theme of madness acquires ideologically engaged and symbolically significant content. In “Sanatorium Zone” by M. Khvylovyi the madness phenomenon is associated with the problems of split personality and suicide. It may be explained in a modernist context, as a reflection of the internally conflicting nature of a man, incapable of changing the existing world or getting adjusted to it. In the tragicomedy “People’s Malakhiy”, M. Kulish introduced the idea of madness into the complex sociopolitical context of the soviet reality which he revealed in various forms (from mythological to social-political) using satirical and grotesque images, philosophical generalization, etc. An episode of madness in the novel “The Garden of Gethsemane” by I. Bahrianyi emphasizes the anomality of the soviet world which is symbolized by the punishment cell and characterized as a “conveyor belt for dismantling human souls”. The story of the romantic poet Hӧlderlin in the novel by V. Domontovych is socially and politically conditioned. It reveals the state of a man and the world in a difficult transitional era. In “The Enameled Bowl”, Domontovych elaborates the theme of illness through the idea of the lack of consistency between the internal and external and understands it as an artistic convention that marks the absurdity of the world. T. Osmachka in his prose was especially focused on the theme of madness. He was interested in mental disorders both as a form of the character’s self-awareness and as a clinical story. The mythological and ideological image of a mentally ill man, reflecting a creative person subjected to repression and persecution, is a symbol of his own biography. In general, the changes in the interpretation of mental disorders are associated with the renewal of the modernist poetics and caused by the writers’ attempts to clarify the connection between the external and internal.

Введение. Становление исторической прозы для детей и юношества в русской литературе началось в первой трети XIX в. и было вызвано стремительным развитием отечественной историографии. Детской писательнице А. О. Ишимовой принадлежит заслуга создания первого адаптированного для детей исторического труда. Принцип художественного осмысления прошлого, фактический материал, концепция истории отечества были заимствованы Ишимовой из «Истории государства Российского» Карамзина. В своей «Истории России в рассказах для детей» писательница заложила жанровые доминанты нового документально-художественного рода сочинений в детско-юношеской литературе, среди которых можно выделить познавательную и нравственно-назидательную цели исторического труда; выбор политической идеологии, которой подчиняется концепция отечественной истории; опору на разные исторические источники, в числе которых важное место занимает современная историография; художественное осмысление прошлого, психологизацию исторического материала; включение фольклорных и авторских литературных текстов; диалогизацию монологического текста в форме обращений и вопросов к адресату и др. Цель – анализ поэтики исторического повествования, а также представленной концепции русской истории в исторических произведениях для детей А. О. Ишимовой и Е. Поселянина. Исследование продолжает необходимую работу в области изучения произведений второго ряда литературы и позволяет определить принципы формирования детско-юношеской исторической прозы XIX – начала XX в. Материал и методы. Дается анализ исторической книги для детей и юношества Е. Поселянина «Сказание о святых вождях Земли Русской». Исследование написано в русле сравнительно-исторической поэтики. Результаты и обсуждение. Созданное Л. Тихомировым государственно-правовое учение о монархическом принципе власти повлияло на идеологическую составляющую исторической книги для детей и юношества Е. Поселянина «Сказание о святых вождях Земли Русской». Поселянин описывает историю Древней Руси и затрагивает современную ему Российскую империю, основываясь на концепции о присущей природе российской государственности модели православной самодержавной монархии. В период обострившегося социально-политического кризиса в конце XIX – начале XX в., когда актуализировалась проблема переоценки российской государственности и общества, а также определялись перспективы развития России в контексте общеевропейских тенденций, Поселянин утверждает ценность и самодостаточность российской государственности, декларирует идею особого пути России. Заключение. Большинство сказаний о русских князьях Е. Поселянина представляют собой переложение их жизнеописаний, взятых из летописей, Четьих-Миней святителя Димитрия Ростовского, Пролога, древнерусских поучений, сказаний, воинских повестей, а также научных трудов историков XIX в. Разнообразие источников, ориентация как на древнерусский жанр исторического сказания, так и на современные писателю мемуарно-биографические жанры обусловили жанровое своеобразие «Сказания...», в котором житийные повести перемежаются с историко-биографическими очерками о русских князьях и святых, объединенных общим повествованием о трагических и героических событиях древнерусской истории. В «Сказании...» Поселянина сочетаются эпическое начало, лиризм и очерковость. Introduction. The development of historical prose for children and youth in Russian literature began in the first third of the 19th century and was caused by the rapid development of Russian historiography, which began with the publication of N. M. Karamzin. The children’s writer A. O. Ishimova is credited with creating the first historical work adapted for children. The principle of artistic comprehension of the past, factual material, the concept of the history of the fatherland was borrowed by Ishimova from Karamzin’s “History of the Russian State”. In her History of Russia in Stories for Children, the writer laid down the genre dominants of a new documentary-artistic kind of works in children’s and youth literature, among which one can single out the cognitive and moral-edifying goals of historical work; the choice of political ideology to which the concept of national history is subject; reliance on various historical sources, among which modern historiography occupies an important place; artistic comprehension of the past, psychologization of historical material; inclusion of folklore and author’s literary texts; dialogization of a monologue text in the form of addresses and questions to the addressee, etc. Aim and objectives. Analysis of the poetics of historical narration, as well as the presented concept of Russian history in historical works for children by A. O. Ishimova and E. Poselyanin. This study continues the necessary work in the field of studying the works of the second series of literature and allows us to determine the principles of the formation of children’s and youth’s historical prose of the XIX – early XX centuries. Material and methods. The article analyzes the historical book for children and youth by E. Poselyanin “On the holy leaders of the Russian Land”. The study is written in the mainstream of comparative historical poetics. Results and discussion. The state-legal doctrine of the monarchical principle of power created by L. Tikhomirov influenced the ideological component of the historical book for children and youth by E. Poselyanin “The Legend of the Holy Leaders of the Russian Land”. The villager describes the history of Ancient Rus and touches on the contemporary Russian Empire, based on the concept of the inherent nature of Russian statehood, the model of an Orthodox autocratic monarchy. During the aggravated socio-political crisis at the end of the 19th and the beginning of the 20th centuries, when the problem of reassessing Russian statehood and society was actualized, and the prospects for the development of Russia in the context of general European trends were determined, Poselyanin affirms the value and self-sufficiency of Russian statehood, declares the idea of a special path for Russia. Conclusion. Most of the legends about the Russian princes E. Poselyanin are transcriptions of their biographies taken from the chronicles, the Chetykh-Minei of St. Demetrius of Rostov, the Prologue, Old Russian teachings, legends, military tales, as well as scientific works of historians of the 19th century. A variety of sources, an orientation both to the ancient Russian genre of historical legends and to the contemporary memoir and biographical genres of the writer determined the genre originality of the Legend, in which hagiographic stories are interspersed with historical and biographical sketches about Russian princes and saints, united by a common narrative about the tragic and heroic events of ancient Russian history. The Peasant’s Tale combines an epic beginning, lyricism and essayism.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1990.
Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de Maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 107-111. Document électronique également accessible en format PDF. CaQCU

Thesis (M.F.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Vita. Includes bibliographical references.

The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.
Department of Art

Orientador: Graziela Estela Fonseca Rodrigues
Dissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Artes
Made available in DSpace on 2018-08-21T07:05:07Z (GMT). No. of bitstreams: 1 Campos_Flavio_M.pdf: 2042473 bytes, checksum: f7b39416abeeb923f2e6277e2bb5e1ef (MD5) Previous issue date: 2012
Resumo: O presente trabalho evidencia a existência e o papel fundamental das relações afetivas no processo criativo proposto pelo método Bailarino-Pesquisador-Intérprete (BPI). Utilizando-me metodologicamente da Análise de Conteúdos proposta por Laurence Bardin (1977) e do caráter qualitativo para analisar os dados coletados, segundo Graham Gibbs (2009), constato que há na dinâmica sistêmica do BPI a estruturação de uma Rede Afetiva a partir das relações intrapessoais e interpessoais vivenciadas pelo intérprete. Este trabalho possui quatro capítulos, onde descrevo a minha trajetória de estudos e inquietações até a organização de um pré-projeto cujo objetivo é o eixo do desenvolvimento desta investigação. Apresento, também, os Materiais e as ferramentas utilizadas para analisar o objeto de estudo escolhido. E, de modo mais especifico, discuto sobre a estruturação de uma Rede de Afetos e sobre a importância do diretor no Processo BPI. Esta dissertação sintetiza o meu aprofundamento sobre o método BPI, traçando, a partir de uma revisão bibliográfica, uma reflexão sobre a alteridade e a conduta ética num processo de criação em Artes da Cena. É um estudo que abre espaço para o diálogo com muitas das áreas do conhecimento, especialmente aquelas relacionadas às artes
Abstract: This study provides evidence of the existence and fundamental role of affectionate relationships in the creative process proposed by the BPI (Dancer-Researcher-Performer) Method. The qualitative approach and the Content Analysis Method proposed by Laurence Bardin (1977) utilized here allow me to observe that an Affective Network of intrapersonal and interpersonal relations is built through the system dynamics proposed by the BPI method. This Dissertation has four chapters in which I describe my personal and academic experiences, as well as my anxieties and inquiries that led me to the organization of a project that form the axis of this investigation. Materials and tools considered in the analyses of my study object are also described here. More specifically, I discuss the structuring of an Affectionate Network and the importance of the director in the BPI process. This dissertation also synthesizes my in-depth study of the BPI method, proposing, from a bibliographic review, a reflection on alterity and ethical conduct in the creative process of the Performing Arts. It is a study that dialogues with many areas of knowledge, especially those related to the arts
Mestrado
Artes da Cena
Mestre em Artes da Cena

Indiana University-Purdue University Indianapolis (IUPUI)
The collection of pages spread before you now, this story-thesis, is a collection of stories about my journey from cult member to the place in life I am now, stories about those stories, and stories about the people who lived or read them, talked about them, and were changed by the tellings. Most importantly, the goal of this story-thesis is to illustrate how the process of story-making and -telling changes how we interpret our identities and our lifeworlds. I argue that the stories that we share change our identities, and I also argue that how we perceive our identity and the identities of others affects the stories that we share.