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Journal articles on the topic 'Nataliya'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Editorial, Article. "Nataliya Alexandrovna Mazaeva." Psikhiatriya 19, no. 1 (March 28, 2021): 111–12. http://dx.doi.org/10.30629/2618-6667-2021-19-1-111-112.

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2

Urban-Podolan, Aleksandra. "Лики старости в рассказах Наталии Толстой." Slavica Wratislaviensia 163 (March 17, 2017): 267–76. http://dx.doi.org/10.19195/0137-1150.163.23.

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Pictures of elderliness in Nataliya Tolstoy’s short storiesAlthough the dusk of life is not the focus of Nataliya Tolstoy’s interests, it nevertheless occupies an important place among the issues dealt with by this keen observer and commentator of Soviet and Russian social realities. Assuming that the attitude to the elderly is ameasure of asociety’s humanism, the picture that emerges from Tolstoy’s works speaks very unfavourably of the society to which the writer belonged. The literary portraits of the members of the elder generation reveal the miserable conditions in which they lived in the Russia of the second half of the XX century. Few of her elderly protagonists’ lives are decent — understood here as both material well-being, whereby they can meet their basic needs and sometimes even foster their artistic and intellectual talents, and the access to spiritual goods and their families’ closeness and support, due to which in the twilight of their lives they can feel the sense of life and respect for themselves.Oblicza starości w opowiadaniach Natalii TołstojMimo że jesień życia nie stanowi głównego obiektu zainteresowania Natalii Tołstoj, niemniej jednak problematyka ta organicznie wpisuje się w krąg zagadnień poruszanych przez tę wnikliwą obserwatorkę i komentatorkę rosyjskiej i radzieckiej rzeczywistości społecznej. Jeśli przyjąć, że stosunek do starości jest miernikiem humanitaryzmu społeczeństwa, to obraz, jaki wyłania się z kart utworów Tołstoj, wystawia niepochlebne świadectwo społeczeństwu, do którego należała sama pisarka. Zaprezentowane w opowiadaniach portrety starych ludzi są świadectwem zwykle bardzo niskiego standardu ich życia w Rosji drugiej połowy XX wieku. Tylko nieliczni spośród nich żyją godnie, w dobrobycie, pozwalającym zaspokajać im podstawowe potrzeby, a niekiedy nawet rozwijać potencjał twórczy. Pomaga w tym dostęp do dóbr duchowych oraz bliskość i wsparcie rodziny.
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Vakhtina, Marina. "The blockade diary by Nataliya Aleksandrovna Enman." Archaeological News 27 (2020): 392–417. http://dx.doi.org/10.31600/1817-6976-2020-27-392-417.

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4

Gutorova, Nataliya O. "White-Collar Crime: Ukrainian Experience of Searching for Optimal Model of Criminal Liability." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 2, no. 11 (2018): 100–116. http://dx.doi.org/10.25143/socr.11.2018.2.100-116.

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The Professor of the Law Institute of Poltava Nataliya O. Gutorova analyses quite a sensitive issue for society – white-collar crime in Ukraine, defining the optimally probable model of criminal liability. The white-collar shadow economy level is rather high in Ukraine – 45.96 % of the GDP and correlates with the respective data of Nigeria. The author’s approach can be related to two aspects: first, prevent excessive criminalization activities; second, effectively punish white-collar criminals. Poltavas Tiesību institūta profesore Natālija Gutorova (Nataliya O. Gutorova) analizē sociāli visai sensitīvu problēmu – t. s. balto apkaklīšu noziedzību Ukrainā, izzinot iespējamo kriminālatbildības optimālo modeli. Ar baltajām apkaklītēm saistītais ēnu ekonomikas līmenis Ukrainā ir visai augsts – 45,96 % no IKP un ir tuvs atbilstošam Nigērijas rādītājam. Autores pieeja ir attiecināma uz diviem aspektiem: pirmkārt, novērst darbību pārlieku kriminalizāciju; otrkārt, efektīvi sodīt baltās apkaklītes par noziegumiem.
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Simonova, Olga. "On history of relations between Nikolay Antsiferov and Nataliya Roskina." Literary Fact, no. 8 (2018): 314–33. http://dx.doi.org/10.22455/2541-8297-2018-8-314-333.

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6

Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.

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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.
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Viatkina, Natalia, Amina Kkhelufi, Kseniia Myroshnyk, and Nataliia Reva. ""The saved and the lost." Attempt to recall on-line." Sententiae 39, no. 2 (December 29, 2020): 226–40. http://dx.doi.org/10.31649/sent39.02.226.

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Viatkina, Natalia, Amina Khelufi, Kseniia Myroshnyk, and Nataliia Reva. "“The saved and the lost.” Attempt to recall on-line. Part II." Sententiae 40, no. 1 (April 1, 2021): 160–74. http://dx.doi.org/10.31649/sent40.01.168.

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Mykhalskyj, U. V., and A. V. Prokip. "Nataliya Kobrynska and ideology of women's emancipation of the late XIX-early XX century." Herald of Lviv University of Trade and Economics. Humanitarian sciences, no. 14 (2016): 29–34. http://dx.doi.org/10.36477/2616-8510-2016-14-02.

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Horvath, Robert. "The Reinvention of ‘Traditional Values’: Nataliya Narochnitskaya and Russia’s Assault on Universal Human Rights." Europe-Asia Studies 68, no. 5 (May 27, 2016): 868–92. http://dx.doi.org/10.1080/09668136.2016.1184230.

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Jones, Jackie. "Review ofCriminal Investigation of Sex Trafficking in America, by Leonard Territo and Nataliya Glover." Journal of Human Trafficking 1, no. 2 (April 3, 2015): 187–89. http://dx.doi.org/10.1080/23322705.2015.1041860.

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Seifert, Heidi. "Soultanian, Nataliya: Wie russische Kinder Deutsch lernen. Sprachförderung in der Familie und im Kindergarten." Informationen Deutsch als Fremdsprache 41, no. 2-3 (June 1, 2014): 372–75. http://dx.doi.org/10.1515/infodaf-2014-2-382.

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13

Harbuziuk, Maiia. "Returning the Other." Pamiętnik Teatralny 69, no. 3 (November 11, 2020): 225–37. http://dx.doi.org/10.36744/pt.465.

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The author reviews Nataliya Yakubova’s monograph Irena Solska: The Burden of Unusualness (Moscow 2019) which is the result of more than ten years of work. Yakubova emphasizes that for her the past remains an “open project” to which one can (and should) return many times and her book can be seen as such “portal to the past”. The creative and life path of Irena Solska was chosen as the object of research, and its subject was defined as the “burden of unusualness” of the actress’s personality. Yakubova sees the main analytical problem in the conservation of social stereotypes about Irena Solska and diagnoses the fundamental bias, spread in Polish culture, of the myth of Irena Solska as a “demonic woman”. Therefore, the purpose of the study was the interpretation of sources, the destruction of stereotypes, and overcoming patterns of representations. The principle of interdisciplinary research allows her to consider the fate of the star actress as a phenomenon of her time, in the dynamics of complex socio-political, socio-cultural, aesthetic-technological and ideological-emancipatory changes from the late nineteenth century to the late 1930s. (Transl. S. Harbuziuk)
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Wójcik, Katarzyna. "„… ty jesteś Euterpe i liryka, i muzyka”. Portret Natalii w poezji K.I. Gałczyńskiego." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 44, no. 3 (September 30, 2019): 125–33. http://dx.doi.org/10.36770/bp.187.

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Natalia Gałczyńska, wielka miłość Konstantego Ildefonsa, jego żona, muza, kochanka i opiekunka była dla niego ucieleśnieniem ideału kobiecości. Poświęcił jej najpiękniejsze i najbardziej wrażliwe teksty, opisując ją w codziennych sytuacjach. Przekształcił jej charakter. Uczynił z niej bohaterkę poetyckich bajek, erotyków. Była towarzyszką jego cierpienia i biedy. Poetycki wizerunek Natalii Gałczyńskiej, stworzony przez jej męża, pozostaje portretem kobiety wyjątkowej w poezji – bogini, przyjaciółki, kochanki i matki.
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Chupryna, Olga. "The Last Word on Words. Lectures on English Lexicology. Morozova Nataliya. Moscow: University book, 2010. 178 p. ISBN 978-5-91304-152-4." Journal of Language and Education 1, no. 2 (June 1, 2015): 65. http://dx.doi.org/10.17323/2411-7390-2015-1-2-65.

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Behrens, Susan J. "Essential Self of Natalie Waite in Hangsaman by Shirley Jackson." Names 69, no. 1 (February 15, 2021): 1–9. http://dx.doi.org/10.5195/names.2021.2244.

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In light of a 2016 biography and 2020 feature film about writer Shirley Jackson, contemporary readers are rediscovering Jackson’s work. One novel of interest is Hangsaman (1951). This is a book in motion, with shifting realities and narratives that are mirrored in the author’s naming schemes. Moments of disorientation in Hangsaman originate in, and reflect, the inner life of protagonist Natalie Waite. There seem to be multiple Natalies who struggle at times to be whole, and at other times to be a different person entirely. Along with these vicissitudes in personality, the protagonist takes on variations on the name Natalie. At the point at which she is at the greatest risk of losing herself completely, Natalie adopts a new name, the gender-ambiguous Tony. Natalie is ultimately saved from slipping away and becoming Tony through the author’s device of false starts, i.e., opportunities for characters to relive and rename events in a new light, in a different reality. Natalie’s internal journey has been, all along, tracked by her public and private names.
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Bennett, Michael. "Answering the Bioethicists’ Objection." Symposium 24, no. 1 (2020): 92–117. http://dx.doi.org/10.5840/symposium20202415.

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Bioethicists criticize Jürgen Habermas’s argument against “liberal eugenics” for many reasons. This essay examines one particular critique, according to which Habermas misunderstands the implications of human evolution. In adopting Hannah Arendt’s concept of “natality,” Habermas seems to fear that genetically modified children will lose the contingency of their births, which would impair their capacity for political action; but according to evolutionary theory, bioethicists argue, this fear is unfounded. I explore this objection by entertaining the hypothesis that Habermas’s argument assumes Arendt’s interpretation of Darwinian evolution in addition to her conception of natality, and then I answer it by contrasting the conceptions of evolution held by Habermas, by Arendt, and by Habermas’s critics. Les bioéthiciens critiquent l’argument de Jürgen Habermas contre « l’eugénisme libéral » pour de nombreuses raisons. Cet essai examine une critique en particulier, selon laquelle Habermas comprend mal les implications de l’évolution humaine : en adoptant le concept de la « natalité » de Hannah Arendt, Habermas semble craindre que les enfants soumis à une modification génétique ne perdent la contingence propre à leur naissance, une perte qui diminuerait leur capacité pour l’action politique, mais selon la théorie de l’évolution, les bioéthiciens soutiennent que cette peur est sans fondement. J’explore cette objection à Habermas en considérant l’hypothèse que, en plus du concept de la natalité, Habermas suppose aussi l’interprétation arendtienne de l’évolution biologique de Darwin, et j’y répond en confrontant cette conception de l’évolution avec la conception propre à Habermas et avec celle des bioéthiciens qui lui ont répondu.
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Piirainen, Timo. "Work and Welfare in the New Russia. By Nick Manning, Ovsey Shkaratan, and Nataliya Tikhonova. Trans. Karen George. Burlington, Vt.: Ashgate, 2000. xiv, 414 pp. Bibliography. Tables. $84.95, hard bound." Slavic Review 61, no. 2 (2002): 422–23. http://dx.doi.org/10.2307/2697173.

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Libman, Alexander. "The Russian Project of Eurasian Integration: Geopolitical Prospects. By Nataliya A. Vasilyeva and Maria L. Lagutina. Lanham, MD: Lexington Books, 2016. ix, 215 pp. Notes. Bibliography. Index. $90.00, hard bound." Slavic Review 77, no. 1 (2018): 287–88. http://dx.doi.org/10.1017/slr.2018.69.

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Braithwaite, Jeanine. "Poverty and Social Exclusion in the New Russia. Ed. Nick Manning and Nataliya Tikhonova. Trans. Karen George. Aldershot, Eng.: Ashgate, 2004. xiv, 288 pp. Notes. Bibliography. Index. Figures. Tables. $89.95, hard bound." Slavic Review 64, no. 4 (2005): 926–27. http://dx.doi.org/10.2307/3649964.

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Komarova, N. "Natalia Komarova." Journal of International Analytics, no. 2 (June 28, 2015): 14–15. http://dx.doi.org/10.46272/2587-8476-2015-0-2-14-15.

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Durfee, Thea. "Natalia Goncharova." Experiment 1, no. 1 (1995): 159–68. http://dx.doi.org/10.1163/2211730x-00101010.

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Morgan, Gary S., and Nicholas J. Czaplewski. "A NEW BAT (CHIROPTERA: NATALIDAE) FROM THE EARLY MIOCENE OF FLORIDA, WITH COMMENTS ON NATALID PHYLOGENY." Journal of Mammalogy 84, no. 2 (May 2003): 729–52. http://dx.doi.org/10.1644/1545-1542(2003)084<0729:anbcnf>2.0.co;2.

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Frużyńska, Joanna. "Od Verne’a do Tulleta. Sto lat obecności francuskiej literatury dla dzieci i młodzieży na polskim rynku książki." Dzieciństwo. Literatura i Kultura 1, no. 2 (December 31, 2019): 229–41. http://dx.doi.org/10.32798/dlk.171.

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W artykule recenzyjnym omówione zostały dwie książki Natalii Paprockiej (2018): Bibliografia polskich przekładów i adaptacji francuskiej literatury dla dzieci i młodzie­ży wydanych w latach 1918–2014 oraz Sto lat przekładów dla dzieci i młodzieży w Pol­sce. Francuska literatura dla młodych czytelników, jej polscy wydawcy i ich strategie (1918–2014), wpisujące się zarówno w kontekst translatoryki literatury dziecięcej, jak i bibliologii oraz socjologii sztuki. W artykule scharakteryzowano układ zestawionej przez Natalię Paprocką bibliografii polskich przekładów francuskiej literatury dla dzieci i młodzieży oraz streszczono najważniejsze założenia jej badań: wykorzystano w nich koncepcję pola literackiego Pierre’a Bourdieu, pojęcia importu/transferu i repertuaru kulturowego w rozumieniu Itamara Evena-Zohara oraz teorię aktora-sieci Brunona Latoura. Według badaczki w ciągu całego stulecia wśród polskich wydaw­ców dominowała polityka wznowień klasyki, co pociągnęło za sobą bardzo ograni­czony transfer zjawisk innowacyjnych we francuskiej kulturze dziecięcej.
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Harris, Elizabeth. "The Complete Short Stories of Natalia Ginzburgby Natalia Ginzburg." Translation Review 83, no. 1 (September 2012): 75–79. http://dx.doi.org/10.1080/07374836.2012.703112.

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Choma-Suwała, Anna. "Poezja Natalii Liwyckiej-Chołodnej w tłumaczeniach Józefa Łobodowskiego." Acta Polono-Ruthenica 2, no. XXV (September 24, 2020): 137–54. http://dx.doi.org/10.31648/apr.5623.

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Cel artykułu to prezentacja poezji Natalii Liwyckiej-Chołodnej w przed-wojennych tłumaczeniach Józefa Łobodowskiego. Głównym założeniem jest wskazanie przesłanek, którymi kierował się tłumacz w wyborze utworu, przedstawienie właściwości warsztatu poetyckiego i omówienie dokonanych przez niego translacji. Natalia Liwycka--Chołodna (1902–2005) zaliczana do grona tzw. szkoły praskiej ponad 20 lat była związana z Polską. W Warszawie opublikowano dwa tomy jej poezji Вогонь і попіл (Ogień i popiół, 1934) oraz Сім літер (Siedem liter, 1937). W okresie międzywojennym jej dorobek był polskiemu czytelnikowi mało znany. Kilka tłumaczeń jej wczesnej poezji pojawiało się w latach 1934–1938 w „Sygnałach”, „Biuletynie Polsko-Ukraińskim” i czasopiśmie „Wołyń”. Ich autorami byli Tadeusz Hollender i Józef Łobodowski, który opublikował trzy prze-kłady: На розквітлі акації грона (Srebrny księżyc akację ogarnął), На розпуттях(Rue Racine) i На могилі (Nad grobem). Lubelski poeta sięgnął po utwory bliskie jego autorskiej poezji i poglądom politycznym. Omówione translacje są przykładem ekwiwa-lencji dynamicznej, charakteryzuje je energia i osobiste zaangażowanie tłumacza. Zwraca on uwagę na adekwatność semantyczną, ale nie rezygnuje z autorskiej poetyzacji tek-stu. W jego przekładach można odnaleźć wiele elementów mających na celu pobudzenie wyobraźni polskiego czytelnika.
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Holnes, Darrel Alejandro. "Natalia and Child." Callaloo 36, no. 3 (2013): 547. http://dx.doi.org/10.1353/cal.2013.0160.

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SI «SISJ NAMS Ukraine», Staff of. "Natalya Grigoryevna Nikolaeva." ORTHOPAEDICS, TRAUMATOLOGY and PROSTHETICS, no. 1 (September 22, 2009): 117. http://dx.doi.org/10.15674/0030-598720091117.

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Sáez-González, Jesús Miguel. "Rompecabezas (Natalia Smirnoff)." Vivat Academia, no. 115 (September 15, 2011): 147. http://dx.doi.org/10.15178/va.2011.115.147.

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Barrow, Giles. "Natality." Transactional Analysis Journal 44, no. 4 (October 2014): 311–19. http://dx.doi.org/10.1177/0362153714559923.

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Ličen, Nives. "Javrh, P. (ur.) - Obrazi pismenosti (Ljubljana, Andragoški center Slovenije, 2011)." Andragoška spoznanja 18, no. 1 (March 7, 2012): 92. http://dx.doi.org/10.4312/as.18.1.92-94.

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Decembra 2011 je izšla zanimiva monografija Obrazi pismenosti, ki prinaša razprave 12 avtorjev in avtoric (Estera Možina, Sabina Jelenc Krašovec, Meta Grosman, Mieke van Groenestijn, Olga Drofenik, Mirjana Ule, Natalija Vrečer, Marko Radovan, Manuel Kuran, Milko Poštrak, Natalija Žalec, Petra Javrh) o povezavah med sociokulturnimi praksami pisanja in branja ter učenjem in izobraževanjem.
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Silva, Renán. "Cartas de Caldas [Francisco José] ilustradas. Bogotá, Universidad Distrital Francisco José de Caldas/Casa Museo Caldas/ Academia Colombiana de Ciencias Exactas, Físicas y Naturales, 2016, 548p. Compilación y preparación de las cartas Nataliya Savitskaya y Diego Caldas Varona." Co-herencia 14, no. 27 (October 2017): 293–300. http://dx.doi.org/10.17230/co-herencia.14.27.12.

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33

Sporton, Gregory. "Pure Dance, Natalia Osipova." Scene 6, no. 2 (December 1, 2018): 180–82. http://dx.doi.org/10.1386/scene_00018_5.

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34

Platonova, Natalia. "Remarks by Natalia Platonova." Proceedings of the ASIL Annual Meeting 83 (1989): 190–93. http://dx.doi.org/10.1017/s0272503700075509.

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35

Penner, Joyce E. "Natalia Andronova (1953-2014)." Eos, Transactions American Geophysical Union 95, no. 39 (September 30, 2014): 353. http://dx.doi.org/10.1002/2014eo390006.

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36

Scotellaro, Rocco. "RITRATTO DI NATALIA GINZBUG." Forum Italicum: A Journal of Italian Studies 37, no. 2 (September 2003): 528–29. http://dx.doi.org/10.1177/001458580303700229.

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37

Roschina, I. F. "Jubilee of N.V. Zvereva." Клиническая и специальная психология 4, no. 3 (2015): 95–98. http://dx.doi.org/10.17759/cpse.2015040309.

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In the second part of November 2015 well-known domestic clinical psychologist Natalia Zvereva celebrates her Jubilee. Natalia Zvereva is a professor of the department of neuro- and patho- psychology of development of Moscow state university of psychology and education, leading researcher of department of medical psychology of Mental health research center.
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38

Toschi, Maria do Rosário. "Exílios cotidianos." Revista de Italianística 4, no. 4 (December 30, 1996): 61. http://dx.doi.org/10.11606/issn.2238-8281.v4i4p61-68.

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O texto procura demonstrar como, através da autobiografia do exílio, Natalia Ginzburg lida com extrema sensibilidade tanto com fatos da vida cotidiano, como com a dramaticidade do período da Segunda Guerra. Ao eleger temas como a solidão, a morte, o amor, Natalia desperta em nós as vicissitudes às quais todos estamos submetidos.
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39

Poměnková, Jitka, and Lenka Němcová. "Analysis of decreasing natality trend in the Czech Republic." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 56, no. 3 (2008): 147–56. http://dx.doi.org/10.11118/actaun200856030147.

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The aim of this paper is factors identification of the decreasing natality trend in the Czech Republic between years 1991–2005. This identification is done with respect to the financial situation and living standard of families.The first step, analysis of natality factor – animation natality, is performed. Animation natality is divi­ded according to the mother family state in the time of the birth. Trend of born in marriage and trend out of marriage are described. Following analysis is focused on decreasing component of natality – number of born in marriage.The second step is time series correlation analysis used for identification and evaluation influence of demographic and economic factors on decreasing component of natality. Based on this analysis, in­fluen­cing factors for regression model describing natality are selected.The last step is formulation and estimation of multiple regression model describing causality between natality in marriage and selected factors.
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40

Delgado, Margarita. "Incentivos económicos de la natalidad." Arbor CLXXVI, no. 694 (October 30, 2003): 269–82. http://dx.doi.org/10.3989/arbor.2003.i694.728.

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41

Bisson, Michel. "Méthodes d’étude de la structure spatiale des fluctuations de la natalité au Québec (1926-1971)." Cahiers de géographie du Québec 19, no. 46 (April 12, 2005): 229–41. http://dx.doi.org/10.7202/021255ar.

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La présente recherche montre, à travers trois approches, les démarches méthodologiques possibles visant à dégager la structure spatiale des diverses tendances de la natalité à l'intérieur des divisions de recensement (comtés) du Québec. La cartographie des classes de taux de natalité basées sur la méthode des écarts-types est difficilement applicable parce qu'elle masque les tendances que l'on peut retrouver à l'intérieur de la période 1926-1971. D'une part, la réduction progressive, dans le temps, de l'écart des taux de natalité ne facilite pas l'utilisation de seuils numériques communs à chacune des années ; d'autre part, la considération de chacune des années indépendamment les unes des autres rend difficile l'analyse évolutive comparée de la natalité. La seconde méthode, fait appel à la notion de la croissance allométrique mais ne peut être utilisée directement. Cependant le principe de la relation entre le comportement des comtés et celui du Québec permet l'élaboration d'une troisième méthode : l'étude de la croissance relative, par période, des taux de natalité des comtés par rapport à l'ensemble du Québec. La courbe d'évolution des taux de natalité du Québec se subdivise en cinq périodes qui manifestent des tendances distinctes d'évolution de la natalité. Ces périodes servent de cadre d'analyse pour l'évolution des taux de croissance pour chacun des comtés. Un indice de croissance relative est obtenu en établissant le rapport entre le taux de croissance du comté sur celui de la province. À partir des indices de croissance relative, des cartes sont dressées et montrent de façon générale une période de décroissance de la natalité (1926-1937), une période de reprise de la natalité (1937-1947), une période de stabilité de la natalité (1947-1957), une période marquant l'amorce du déclin de la natalité (1957-1964), et finalement une période de baisse remarquable de la natalité (1964-1971). Chacune des cartes dégage ainsi les variations spatiales de chacune des tendances de la natalité québécoise.
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Myroshnykova, Olena. "Natalia in the international team of religious scholars." Ukrainian Religious Studies, no. 70 (May 28, 2014): 11. http://dx.doi.org/10.32420/2014.70.399.

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Natalia Gavrilova was a member of a large international team of scientists who worked in one project on religious education in the modern world. Within two years, colleagues in various parts of the globe made an encyclopedia for free. Together with Lyudmila Filipovich Natalia represented the Ukrainian national section. Her scientific work is a very professional, clear, respectful to the socio-cultural features of the country's study.
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Vuković, Nebojša. "NATALIJA NAROČNICKA – GLAS ISKONSKE RUSIJE." Nacionalni interes 51, no. 2 (2009): 325–30. http://dx.doi.org/10.22182/ni.5122009.16.

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И. Неделку, Октавија, and Лидија В. Чолевић. "КАД ПОРАСТЕМ БИЋУ КРАЉИЦА: НАТАЛИЈА И МИЛАН ОБРЕНОВИЋ." ИСХОДИШТА 1, no. 7 (July 8, 2021): 201–24. http://dx.doi.org/10.46630/ish.7.2021.14.

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On the trail of new historicism, understanding the relationship between historical and artistic reality, visual culture and art, historiographical and literary ideas about Queen Natalia Obrenovic, helps to stratify the great number of roles she played in Serbian culture. The cultural-historical relations between King Milan and Queen Natalia Obrenovic, as part of the overall mutual ties between Serbian and Romanian culture, are indisputably an inseparable part of Romanian identity.
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Suszek, Ewelina, and Natalia Parfeniuk. "Mizocz - palimpsest." Narracje o Zagładzie, no. 4 (November 11, 2019): 400–408. http://dx.doi.org/10.31261/noz.7914.

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Cotrino, Natalia. "Entrevista a Néstor Camino." Góndola, enseñanza y aprendizaje de las ciencias 15, no. 1 (December 25, 2019): 8–12. http://dx.doi.org/10.14483/23464712.15092.

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47

Ryan, Kevin. "Refiguring childhood: Hannah Arendt, natality and prefigurative biopolitics." Childhood 25, no. 3 (May 18, 2018): 297–310. http://dx.doi.org/10.1177/0907568218777302.

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Hannah Arendt’s concept of natality spans birth and action, which combine to inaugurate the new. Natality is used here to examine childhood as a prefigurative form of biopolitics. This concerns practices that seek to actualise envisioned futures by conditioning and constraining natality, thereby shaping the power relations that encapsulate the social and cultural world(s) of adults and children. The article concludes by reflecting on whether this corralling of natality might be subverted with a view to refiguring childhood.
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48

Fedchina, I. G. "Наталья Сысоева: художник, педагог, искусствовед, общественный деятель." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 102–15. http://dx.doi.org/10.46748/arteuras.2020.04.008.

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The article is devoted to the Irkutsk artist Natalya Sysoeva, chairman of the Irkutsk branch of the Union of Artists of Russia, director of the Irkutsk Regional Art Museum, painter, author of still-lives and landscapes. In addition, Natalya Sysoeva was engaged in teaching activities both in art educational institutions of Irkutsk and at PJE University, Republic of Korea. Thanks to her energy, organizational skills, several large international projects have been carried out with universities and art schools in Russia, Korea, China, Mongolia. Under her curatorship, more than two dozen albums, catalogues dedicated to the work of Irkutsk artists and the collection of the Irkutsk Art Museum have been published. Статья посвящена творческой деятельности иркутского художника Натальи Сергеевны Сысоевой, председателя Иркутского регионального отделения ВТОО «Союз художников России», директора Иркутского областного художественного музея им. В.П. Сукачёва, живописца. Помимо этого, Н.С. Сысоева много лет преподавала как в художественных учебных заведениях Иркутска, так и в университете Pai Chai, Республика Корея. Благодаря ее энергии, организаторским способностям осуществлено несколько больших международных проектов с университетами и художественными училищами России, Кореи, Китая, Монголии. Под ее кураторством издано более двух десятков альбомов, каталогов, посвященных творчеству иркутских художников и коллекции Иркутского художественного музея.
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Malakhov, V. V. "Natalya Mikhailovna Pertsova (1929–2016)." Invertebrate Zoology 13, no. 1 (October 2016): 203–6. http://dx.doi.org/10.15298/invertzool.13.2.03.

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50

Bowlt, John E. "Natalia Goncharova and Futurist Theater." Art Journal 49, no. 1 (1990): 44. http://dx.doi.org/10.2307/777179.

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