Academic literature on the topic 'Non-Authentic-Based Materials'

The paper reviews the basic activities and the role of the UN Committee on the Rights of the Child as a supervisory body for the interpretation and implementation of the UN Convention on the Rights of the Child. Since the UN Committee on the Rights of the Child is a non-judicial body, its basic role is supervisory and advisory. Hence, the views of the Committee have the importance of "soft law", i.e. a source of law in the material sense, which does not diminish the essential strength of the interpretation of the rules of the Convention on the Rights of the Child. In this sense, three basic fields of activity of the Committee can be distinguished. First, the Committee issues General Comments related to the interpretation and application of certain rights or areas of the Convention, which has the meaning of authentic interpretation. Furthermore, the Committee also adopts Concluding Observations in relation to the implementation of the Convention in individual countries based on the periodic reports that the countries are obliged to send to it. Finally, the Third Optional Protocol to the Convention from 2011 also provides a procedure for submitting individual communications to the Committee, claiming there is a violation of the specific rights of the child by a certain state towards an individual child.

The a rticle reconstructs t he p rincipal m otifs of Mikhail Prishvin’s Kitezh text and reveals the connection between Prishvin’s search for God and the German existential philosophical tradition. Prishvin’s Kitezh myth (“Russian Parsifal”) determines his forest soteriology, where he reinterprets the existential tradition of the forest wanderings of Novalis and M. Heidegger in the mysterial plot of “resurrection from among,” the salvation of the “spring of light,” the revelation of the “pantry of the sun.” Prishvin’s Kitezh text is based on the intuition of the life creation (the peace creation amid war), overcoming social and political catastrophes, which brings the writer closer to the philosophy of the Kitezh people of the 1920–1940s (M. Bakhtin, A. Meyer, A. Ukhtomsky, A. Gorsky, V. Muravyov), with the German intuition of authentic life, salvation from the world of “deserted numbers” in M. Heidegger and E. Junger, the identification of being as a non-metric space of the “forest” in V. Bibikhin. Mechanical, object-based thinking (“the wall of the material” in Jünger, the “veil of being” in Prishvin) contrasts with thinking “in the image of a forest path” (A. Mikhailovsky), the discovery “in the forest” of a true community — vivid I–Thou relationship. Distancing themselves from Soviet ideology, the residents of Kitezh, who “went into the forest,” discover a veritable “commune” — an “invisible church,” understood as the connection of all living and dead, “The Whole Man” (M. Prishvin), holy flesh, “The Holy Grail of man public” (S. Bulgakov), Adam Kadmon, “Microcosm, realizing itself as Macrocosm” (V. Muravyov), “expanding, mutually saving life,” “superpersonal folk-church fullness of consciousness” (A. Ukhtomsky).

This article explores the organization and implementation of pedagogical experiments aimed at enhancing the teaching of authentic English texts in non-philological education settings. As globalization and intercultural communication become increasingly important, the ability to comprehend and engage with authentic materials, such as original literary works, news articles, and multimedia content, is crucial for students in non-language-focused disciplines. The study examines various experimental methodologies designed to improve students' language proficiency, critical thinking, and cultural awareness through the analysis of authentic texts. The article discusses key strategies, including task-based learning, collaborative reading activities, and the integration of real-world materials into the curriculum. It also evaluates the effectiveness of these pedagogical approaches in fostering better comprehension and retention of English language skills among non-philological students. The findings suggest that well-structured pedagogical experiments can significantly enhance students' engagement with authentic texts,making language learning more relevant and applicable to their professional and personal lives.

The destiny and literary creation of Ion Creangă crystallized into an unprecedented phenomenon in our culture, always inciting artists and literati to the most diverse interpretations and visions. But a re-interpretation of the “spectacle of the world”, created by the great storyteller from Humulești, requires great aesthetic and artistic efforts. To argue these ideas, we will refer to the non-fiction film “Ion Creangă” directed by Vlad Druc, based on a script signed by Anatol Codru, cameraman - Ion Bolboceanu. In search of the most appropriate audiovisual equivalents for the rendering/interpretation through another language, the cinematographic one, of the artistic phenomenon Ion Creangă, the film director Vlad Druc turned to some iconographic materials (photographs, manuscripts), places filmed “live”, but also to some works from the paintings of the Yugoslav naivists, which restore the values of authentic life, but also of the imaginary. In the director V. Druc’s conception, this art has some qualities in common with the world perceived by the great storyteller finding suggestive ambiences in the context of his cinematic approach. Finally, the director Vlad Druc managed to consolidate these heterogeneous materials into a unique whole through audiovisual language, launching a cinematic product that resists the erosion of time.

The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth-century panel paintings in their collection. The five panels are all fragments, likely removed from their original settings at the turn of the nineteenth century during the upheaval of the Napoleonic Wars and sold on the art market after extensive restoration. Three of these five panels have been already treated at SRAL. The additional two will undergo a full conservation campaign in the coming year carried out in collaboration with conservation students from the University of Amsterdam and conservation training programmes in Spain. A treatment protocol was devised to ensure a systematic and sympathetic treatment, including reintegration. This provided key skill development for the trainee conservators. The removal of non-original surface materials revealed overcleaned and severely damaged surfaces. The integration of these surfaces required an innovative approach to return a sense of authenticity to the artworks, individually and as a disparate group. The subtle shift in gloss and texture between areas of paint and gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous glazes had been lost. The selection of conservation materials for infilling and retouching aimed to return this ephemeral play on light to the surfaces. This paper will discuss this innovative approach using the reintegration of one of the set of five panel paintings: the “Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were carefully chosen so as not to be mistaken for original materials in the future. The approach entailed thinking out of the box and approaching the filling and retouching stages simultaneously rather than as independent actions. This allowed a more holistic strategy to reintegration than if all losses were filled first prior to retouching. The filling materials utilised are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M (methylcellulose) bound in water. This mixture was used to fill deeper losses and modified with aluminium hydroxide powder to create a surface fill. The protocol used began with testing of the materials to find the right formulation; adaptations for the typology of fill were incorporated into this design. The filler formulation is modified to best adapt to the specific losses in each area of each panel. The decision not to re-varnish the panels allowed filling and retouching to be carried out simultaneously and the different gloss surfaces of individual paint areas to be imitated by modifying the amount of retouching binding media (Aquazol 200 dissolved in ethanol/water). The resulting appearance allows different colour and surface finishes to retain their independent characteristics and returns a more authentic surface finish to the fifteenth-century artworks.