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1
Dolinskaya, Elena B. « INNOVATIVE WAYS OF RUSSIAN MUSICOLOGICAL PEDAGOGY IN THE XXTH – EARLY XXIST CENTURIES ». Arts education and science 2, no 35 (2023) : 6–11. http://dx.doi.org/10.36871/hon.202302006.
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This article focuses on the evolution of Russian music history teaching in higher educational institutions of the XXth century. It defines the limits of the influence of general social factors of history on the concept of textbooks and the selectivity of programs. Examples of national pedagogical historiography are given. The main typological characteristics of the textbooks in the system children’s music school — college — higher educational institution are revealed. The article emphasizes the typology of their structure in monographic form of presentation and points out some peculiarities of such presentation in the three stages of education in the first half of the XXth century. The role of material review in university textbooks of the last third of XXth – early XXIst centuries is briefly characterized. They note a significant expansion of issues and personalities both in style reviews and in the description of the genre system, which allows a deeper understanding of the individual contribution of the leading masters of the era. It is recommended that the pedagogical literature relies both on recent literature and the reliability of archival sources, epistolary, diaries. The article aims to broaden the research interest of educational historians in writing new textbooks that expand the idea of defining their musical atmosphere in stages of past eras and in contemporary practice.
2
Zub, Alexandru. « The Contemporary Historical Discourse : Between Criticism and Reshaping ». Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 3 (30 novembre 2004) : 211–21. http://dx.doi.org/10.35219/history.2004.09.
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The present text recommends itself as an erudite essay regarding the condition of history and the historian on the threshold between the XXth and the XXIst centuries. In the postmodern times, the scientific “prophets” of the end announced the “end of history”, concomitantly with the end of other fields of the human studies. The multitude of the points of view, as well as the diversity of the reflections voiced and commented by the author, prove that history is nowadays more vivid than ever.
3
KUTSYR, Tetiana. « ZHOVKVA FOLK EMBROIDERY OF THE XXth — EARLY XXIst CENTURIES ARTISTIC FEATURE, ATTRIBUTION, REPRESENTATION ». Ethnology Notebooks 145, no 1 (21 février 2019) : 73–80. http://dx.doi.org/10.15407/nz2019.01.073.
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Кузьмина, Александра. « The echo of Heinrich Heine’s «Bergstimme» in Russian translations of the XXth-XXIst centuries ». Issledovatel'skiy zhurnal russkogo yazyka i literatury 9, no 2 (27 août 2021) : 245–61. http://dx.doi.org/10.52547/iarll.18.245.
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Chagin, G. N. « Ethnic Representation of the Komi-Yazva People in the Late XXth–Early XXIst Centuries ». KnE Engineering 3, no 8 (23 décembre 2018) : 112. http://dx.doi.org/10.18502/keg.v3i8.3619.
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Mishuk, Sergey. « Evolution of the noosphere in the second half of the XXth — early XXIst centuries ». NOOSPHERIC STUDIES, no 4 (28 décembre 2024) : 60–69. https://doi.org/10.46724/noos.2024.4.60-69.
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Kaspiarovich, Halina. « Modern Rural Settlements and Habitations of the Belarusians (Late XXth to Early XXIst Centuries) ». Folk art and ethnology, no 2 (30 avril 2018) : 64–76. http://dx.doi.org/10.15407/nte2018.02.064.
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Rabotyazhev, N. « Ideological and Political Evolution of Labour Party in the late XX – at the Beginning of XXI Centuries ». World Economy and International Relations, no 8 (2013) : 29–42. http://dx.doi.org/10.20542/0131-2227-2013-8-29-42.
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The article is devoted to ideological and political changes of the British Labour Party in the late XXth and at the beginning of the XXIst centuries. The author considers the main characteristic features of the British Labourism, the causes of the Labour Party’s crisis in the late 70-s, and the ideological renewal of the party during the following years. The modernization of the Labour Party under Tony Blair’s leadership, main principles of “The New Labourism” and “The Third Way”, and the evolution of the Labour Party under Blair’s successors are also thoroughly analyzed. The author comes to a conclusion that the New Labourism wasn’t a rupture with Labour tradition, but rather its new interpretation.
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Kuregyan, G. G. « Speech-language atmosphere of Russian detective-crime series of the late XXth-early XXIst centuries ». Pyatigorsk State University Bulletin, no 1 (2021) : 100–107. http://dx.doi.org/10.53531/25420747_2021_1_100.
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Ryazanova, A. A., et N. N. Voropay. « Droughts and Excessive Moisture Events in Southern Siberia in the Late XXth - Early XXIst Centuries ». IOP Conference Series : Earth and Environmental Science 96 (novembre 2017) : 012015. http://dx.doi.org/10.1088/1755-1315/96/1/012015.
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Sukhanova, Tatyana B. « REFLECTION OF THE NATIONAL CHARACTER TRAITS IN THE PERFORMING ART OF RUSSIAN VIOLINISTS ». Arts education and science 3, no 36 (2023) : 93–104. http://dx.doi.org/10.36871/hon.202303093.
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The article deals with the influence of some features of the Russian national character on musical thinking and performing practice. The work aims to outline the problematic aspects of the topic and consider them on the example of the phenomena of Russian violin art of the XIXth – XXIst centuries. Among the main aspects of the topic are the following: forms of reflection of the national character in creativity and performing art; factors that influenced the formation of national traditions of Russian violin art; uniqueness and degree of expression of a certain quality of national character in Russian music-performing art. The paper undertakes a brief review of the authors who dealt with the problems of musical creativity and performance in relation to the regularities of national psychology (B. V. Asafiev, N. G. Shakhnazarova, M. A. Smirnov, etc.). Special attention is paid to the transformation of performing qualities in connection with changes in the “national psychological complex” (M. A. Smirnov) influenced by various sociohistorical and artistic attitudes. The material of the study is mainly the reviewers’ conclusions concerning the peculiarities of the style of national violinists, whose work belongs to different historical periods: to the period of formation of the traditions of national violin art at the turn of the XVIIIth – XIXth centuries, to the Soviet era and to the current state of violin art from the late XXth – early XXIst century and up to our time. The outcome of the analysis of various phenomena of Russian violin art of the XIXth – XXIst centuries is the conclusion that the national uniqueness of performance, as a result of the reflection of certain features of national perception of the world and emotional reactions, is differently manifested in different style contexts. But up to our time, the performing art of Russian violinists retains the qualities (for example, intonation with semantic and psychological content of sound, singsong in sound production), ensuring the recognisability of national musical and stylistic traits, in one way or another associated with the specifics of the national character.
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Vlasova, Victoria Vladimirovna. « KOMI OLD BELIEVER’S COMMUNITIES AT THE TURN OF THE XXth - XXIst CENTURIES : TRANSFORMATION OF RELIGIOUS INSTITUTIONS ». Yearbook of Finno-Ugric Studies 13, no 4 (25 décembre 2019) : 688–96. http://dx.doi.org/10.35634/2224-9443-2019-13-4-688-696.
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The history of the spread of Old Belief among Finno-Ugric peoples, its role in the formation of local ethno-confessional groups had drew attention of researchers for several decades. Special attention is paid to studying of the mechanisms of self-preservation of Old Believer’s communities, in particular such institutions as the Old Believer community and religious leadership ( nastavnichestvo ). The Old Belief, which became widespread among the Komi-Zyryans at the end of the XVIIIth century, significantly influenced their culture and way of life. By the end of the XIX century three ethno-confessional groups of Komi Old Believers were formed: Udora, Upper Vychegda and Upper Pechora. Socio-political and economic transformations of the Soviet period had a strong influence on their development. The purpose of the article is to present and analyze the changes that occurred in the late 1990s - early 2000s with the most important institutions of the Old Belief: the religious community and religious leadership. The study is based on field materials collected during ethnographic expeditions in 1999-2014. The collected materials allow us to talk about significant changes in the socio-religious life of the Komi-Zyryan’s Old-Believer communities. The author shows several variants of changes of studied religious institutions: their preservation (with a simplification of the structure); disappearance; gradual secularization (blurring of intra- and inter-confessional borders). The main problems of all Komi Old-Believer communities of this period are: small numbers, predominance of older women and the absence of youth. The author demonstrates the role of Old-Believers leaders in determining of the religious communities future fate.
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AZAR, DANY, JACEK SZWEDO, EDMUND JARZEMBOWSKI, NEAL EVENHUIS et DIYING HUANG. « “Palaeoentomology” : A modern journal for a science dealing with the past ». Palaeoentomology 1, no 1 (28 décembre 2018) : 1. http://dx.doi.org/10.11646/palaeoentomology.1.1.1.
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Palaeoentomology started in the late XVIIIth century, shortly after the 10th edition of Linnaeus’ Systema Naturae (the foundation of modern taxonomy), when papers on the curiosities of insects entombed in fossil resins were published. The beginning of XIXth century (with the growing interest in geological sciences and prehistoric life) witnessed the first attempts to study and describe insects from sedimentary rocks. This discipline then developed during the XIXth and beginning of the XXth centuries; and resulted in some major works and reviews (summarizing the knowledge on fossil insects and other terrestrial arthropods) published in the geological and biological literature. The XXth century was a period of relatively slow but constant development in palaeoentomology, during which the famous “Treatise on invertebrate paleontology: Arthropoda 4. Superclass Hexapoda” (cataloguing the knowledge on fossil insects) was published (Carpenter, 1992). At the beginning of XXIst century, palaeoentomology grew significantly and exponentially; and two major manuals (“History of insects” and “Evolution of the insects”) were published (Rasnitsyn & Quicke, 2002; Grimaldi & Engel, 2005, respectively). These manuals helped to encourage more students and researchers to work on fossil insects and other terrestrial arthropods.
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Yeginbayeva, T. Zh. « MODERN PERFORMANCE ON THE KAZAKH KOBYZ ». Arts education and science 1, no 2 (2020) : 176–80. http://dx.doi.org/10.36871/hon.202002021.
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Global processes in the musical culture of Kazakhstan are the result of the numerous events that have taken place in the country over the past 20 years. The independence of the state has become a key factor that has had a decisive impact on the economic, socio-political and cultural development of the country. We have entered a new life, which has a rich cultural heritage and was carefully preserved by our ancestors. One of the proofs is the history of Kazakh kobyz art from ancient times to the present day. Modern kobyz art is closely connected with ancient history and has a rich natural tendency for new development, based on centuries of experience. Therefore, kobyz music of the XXth–XXIst centuries absorbed the traditions of European genres and styles, and is widely used in mass music, in various directions of ethnorock, art-rock, folk and others. Two lines of development of music for kobyz and music on kobyz existed in ancient times and nowadays. From here comes the divergence of creative direction among modern composers and in ensemble performance.
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Ignatova, A. S. « Social Photography As a Representation Form of Global Challenges at the Turn of the XXth–XXIst Centuries ». KnE Engineering 3, no 8 (23 décembre 2018) : 164. http://dx.doi.org/10.18502/keg.v3i8.3628.
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Letina, Natalia N. « The seasons in the lyrics of russian rock : winter and summer ». Sphere of culture 4, no 3 (4 février 2025) : 52–66. https://doi.org/10.48164/2713-301x_2023_13_52.
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The article is devoted to understanding the artistic imagery of the seasons in the artistic reflection of Russian rock of the late XXth early XXIst centuries from the standpoint of modern cultural studies. The composition of the key manifestations of the winter and summer (seasons, months, calendar periods and dates, events of the external environment and introspection of the lyrical hero) has been established. The key levels of the presence of the seasons are fixed: literal, historical and cultural, sociocultural, personal, spiritual and moral, symbolic. The key aesthetic paradigms of the dynamics of the imagery of the seasons in the artistic reflection of the authors and performers of Russian rock are indicated: neo-romanticism, postmodernism, metamodernism. As a result, the imagery of the seasons is defined as a dynamically developing and transforming poetic metatext of the seasons a significant component of the chronotope of the generalized metaphysics of Russian rock.
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Petrova, Tetiana. « THEORETICAL AND PRACTICAL VALUE OF THE REVIEWS ON UKRAINIAN TERMINOLOGY DICTIONARIES OF THE LATE XXth AND THE EARLY XXIst CENTURIES ». Problems of General and Slavic Linguistics, no 3 (1 juillet 2019) : 96–106. http://dx.doi.org/10.15421/251913.
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The aim of the research is to determine the theoretical and practical significance of the reviews on natural sciences terminology dictionaries. The object of the research is a system of parametric measurements of terminology dictionaries, the subject is critical remarks on the structural parameters representation of terminology dictionaries. The research material is the texts of the reviews published during the late XXth and the early XXIst centuries. Тhe following methods were used: lexicographic analysis of the dictionary parameters, the quantitative analysis and the comparative one. As a result of the research, it is determined that throughout the analyzed period the experts focus on definition and translation dictionaries as well as reference dictionaries. Most remarks are made to the dictionaries of the early XXIst century. The potential importance of practical application of the results is to improve the theoretical and methodological principles and means of terminology dictionaries creation, as well as their use to develop new (combined) type that comprehensively represent the vocabulary of a particular branch of science. Conclusions: 1) the critical comments on professional definition dictionaries relate to such of their parameters as: ‘introduction / preface’, ‘encyclopedia information’, ‘dictionary register’, ‘definition’, ‘list of references’; 2) translation definition dictionaries have quantitative drawbacks regarding the representation of such structural parameters: ‘dictionary register’, ‘translation area’, ‘definition’; 3) to the parameters of reference dictionaries the following critical comments are made: to replace the title loan term by the normative term; to add the ‘accent characteristic’ parameter; to match the title terms with their definitions etc. Theoretical and practical significance of the reviews on terminology dictionaries gives the possibility to systematize the drawbacks revealed by critics in the representation of structural parameters of such publications, for the purpose to improve the fundamental theoretical and methodological foundations of metaterminography and the practical realization of high-quality works.
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Shevchuk, Khrystyna. « Creativity of Martin Margiela and designers of the Antwerp Six in the context of deconstructivism of the late XXth — early XXIst centuries ». Culturology Ideas, no 20 (2'2021) (2021) : 67–77. http://dx.doi.org/10.37627/2311-9489-20-2021-2.67-77.
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The paper analyzes main methods and peculiarities of garment construction characteristics of deconstruction imagery and style of Belgium designers at the end of the XXth — at the beginning of the XXIst centuries. After researching the designers’ collections, deconstruction means and approaches have been systematized and generalized, the features of form and construction, the use of colors and materials have been studied, including the practical use of garment collections and their presentation. The paper provides the similar and different deconstruction features of the creativity of Martin Margiela, Ann Demeulemeester, Dries Van Noten and other designers of the ‘Belgium six’, it traces their ideas and fields of design creativity. It highlights the importance of the rethinking of the traditional fashion ideas of Belgian designers within the postmodern culture as well as significance of their creativity for the design of modern clothing collections. The paper materials are supposed to be used in scientific research on the history of design, for making lectures, manuals and other methodical materials.
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Soprano, Germán, et Virginia Mellado. « Military and elites in XXth and XXIst centuries in Argentina. Problematizing theoretical definitions and empirical uses of categories ». Población & ; Sociedad 25, no 2 (1 décembre 2018) : 144–73. http://dx.doi.org/10.19137/pys-2018-250206.
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Golubeva, Olga S. « TRADITIONS OF BOOK GRAPHICS OF THE “WORLD OF ART” ASSOCIATION IN SAINT PETERSBURG CHILDREN’S BOOK OF THE LATE XXTH — EARLY XXIST CENTURIES ». Arts education and science 3, no 36 (2023) : 149–59. http://dx.doi.org/10.36871/hon.202303149.
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The article reviews the publications designed and illustrated by Saint Petersburg book graphic artists in the late XXth – early XXIst centuries: G. A. V. Traugot, M. S. Mayofis, A. N. Azemsha, S. A. Ostrov, V. I. Tsikota, K. O. Pochtennaya. The books are analyzed in terms of preserving the traditions that emerged in the early XXth century in the book graphics of the “World of Art” association, concerning both the visual manner and the peculiarities of design and approach to work on the publication as a whole. Modern Saint Petersburg masters to varying degrees continue the traditions of the “World of Art”: they repeat the pictorial language and techniques of creating illustrations, strive for their “book” character, sometimes include elements stylistically close to those used by the participants of the “World of Art” association, strive to create a “beautiful book”, the integrity of the book body. It was with the “World of Art” that the tradition of co-creation between artist and writer in the national children’s book had begun, which was later “picked up” by the graphics of the Lebedev school together with Leningrad writers, and which continues to exist to this day. For many masters whose illustrations are discussed in this article, working in a pictorial manner, close to the “World of Art”, is episodic. At the same time, the aspiration to the integrity of all design elements, to the “bookishness” of illustrations can be considered an established trend, in which commitment to the “World of Art” tradition is manifested.
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Yakoupov, Alexander N. « ACADEMIC MUSIC OF THE XXTH – FIRST QUARTER OF THE XXIST CENTURY : ON THE WAY TO MASTERING ». Arts education and science 1, no 38 (2024) : 14–23. http://dx.doi.org/10.36871/hon.202401014.
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In the musical environment of philharmonic concert venues and musical educational institutions, the compositions of past centuries prevail over the music of modern styles and trends. This article discusses a number of issues related to the causes of this imbalance and analyses its impact on the formation of the repertoire preferences of the audience and the development of musical thinking of the admirers of academic music. In addition, the author brings up for professional discussion the topic of the responsibility of performing musicians for the formation of a sound environment that plays a decisive role in shaping public thinking. The article raises a delicate topic of evaluating the actions of some representatives of the musical and educational community who claim a monopoly of absolute truth regarding which styles and trends in modern music are worthy of being performed in the “temple of art” and which are not. When identifying the reasons for the current attitude of performing musicians towards the work of modern composers, the author of the article, based on the provisions of information theory, suggests considering a musical work both as a result of the composer’s creative activity and as an example of creating an information message for society. This approach allows drawing performers’ attention to the need for mastering the modern musical language, whose synthetic sign system is uniform for all participants in musical communication: the composer, the performer and the audience. The proposals for addressing this important problem are outlined in the final part of the article.
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Alekseeva, Irina V. « INSTRUMENTAL MUSIC FROM THE TURN OF THE XXTH – XXIST CENTURY IN A DIALOGUE WITH THE PAST ». Arts education and science 3, no 40 (2024) : 41–47. http://dx.doi.org/10.36871/hon.202403041.
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The spiritual experience of the past plays a huge role in a person’s life and creativity. It is understood through the prism of the present, forming a dichotomy of memory and oblivion. The article examines the instrumental opuses of composers of the late XXth – early XXIst centuries, whose main theme is the desire to embody the artist’s unique ability to preserve a concept by borrowing “someone else’s word”. The original approaches of the composers are largely determined by the aesthetics of post- and metamodernism, which proclaim the rapid appropriation and mixing in one composition of traditions and styles, intra- and extramusical components, such as music, word and painting in a single composition. Postmodern authors are attracted by the ability to cross the border between the present and the past in memory, to unite the real and the sacred worlds, to collide the secular and the spiritual, the high and the low. The article attempts to systematise composers’ works with borrowings from the near and distant past through the theory of musical text developed by Russian musicologists. In this sense, unique examples of instrumental music of secular and spiritual content with and without quotations from our compatriots and contemporaries are considered. Particular attention is paid to understanding the reasons for composers’ appeal to the artefacts of the past, as well as to updating the principles and forms of intertextual interaction on the way to creating an original artistic world of the composition. The author raises questions aimed at studying the problem of dialogue between modern works and the past. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.
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Liakh, T. O. « METAPHYSICAL DISCOURSE OF MEMORY IN THE UKRAINIAN SHORT STORY GENRE AT THE END OF XXTH – BEGINNING OF XXIST CENTURIES ». "Scientific notes of V. I. Vernadsky Taurida National University", Series : "Philology. Journalism" 1, no 2 (2024) : 210–18. http://dx.doi.org/10.32782/2710-4656/2024.2.1/38.
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Lyubimtseva-Natalukha, Larissa. « SUPERTEXTS IN THE RUSSIAN DRAMA AT THE TURN OF THE XX–XXIST CENTURIES ». Izvestia of Smolensk State University, no 1 (49) (26 mai 2020) : 73–85. http://dx.doi.org/10.35785/2072-9464-2020-49-1-73-85.
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The article is devoted to the study of supertexts phenomenon in contemporary Russian drama. Famous philologists’ points of view are compared, definitions of super-text are suggested, and its features are highlighted. The author of the article distinguishes
macro components of the supertexts in fiction, among which there are motifs, images, plots, types and forms of intertextuality and biographical myth. The overtext in literature is understood as a supra-textual formation, a set of meanings that arise in the process of interaction between texts distanced from each other, as well as different receptions of the writer's personality and his/her literary heritage.
The article analyzes problems of the supertexts typology in modern Russian drama and the selection criteria. Based on a set of features that determine the precedent personality and the «strong» text among them, the Shakespeare’s, Chekhov’s
and Gogol’s supertexts are distinguished in Russian drama at the turn of the XXth–XXIst centuries. The perspective «personal» texts are also marked: Pushkin’s, Lermontov’s, Goncharov’s and Dostoevsky's ones. The remake is considered as a genre under the influence of the meanings of the «personal» text. The remake in drama is proposed to be considered as a work that is most representatively involved in the formation of «personal» supertexts. The writer's biography and his/her works cease to be a fact of literary history and leave the literary field, they turn into a myth and overgrow with meanings due to the authors’
reception, critics and literary critics of subsequent generations. «Personal» supertexts are expanded due to the parodic interpretation of classical prototexts, the destruction of the biographical myth and its reception.
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Yan, Rong. « IMPLEMENTATION OF NATIONAL HERITAGE IN PIANO MUSIC BY MODERN CHINESE COMPOSERS ». Arts education and science 1, no 4 (2021) : 141–49. http://dx.doi.org/10.36871/hon.202104018.
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The purpose of the study is to identify and scientifically substantiate the extent to which traditional national culture has influenced the creation of modern Chinese piano music. Exploring the principles of modern Chinese composers' work with folklore, the author reveals the main trends in Chinese piano music at the present time. The scientific novelty lies in the consideration of various ways of integrating traditional Chinese musical culture into the piano works of the XXth – XXIst centuries. It was found that Chinese composers show a strong orientation towards the national tradition. The main idea of developing this trend is to turn to the roots as well as the cultural origins. This enables contemporary authors to successfully combine traditional musical means with innovative creative pursuits. The works of Li Yinghai, San Tong, He Lutin, Zhao Xiaosheng and Zhu Wanhua showed that the manifestations of national colour in piano works are as diverse as entire Chinese culture. The study also established a profound relationship between the figurative, genre and compositional uniqueness of the piano music of Chinese composers with the national cultural heritage.
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Ustiugova, Elena N. « The Evolution of the Problem of Art Synthesis in Aesthetics ». Koinon 2, no 3 (2021) : 30–43. http://dx.doi.org/10.15826/koinon.2021.02.3.026.
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The article centres on the evolution of the art synthesis problem in aesthetics in the XIX–XX centuries. The author examines the internal logic of the historical development of art synthesis concepts in aesthetic theory and artistic practice. They embrace Romanticism, Symbolism, early Russian avantgarde (metaphysical), and different versions (life-building) of the European avantgarde, such as Dadaism, Bauhaus, Futurism. The author compares them with their contemporary approaches. The analysis allows us to conclude that belonging to one cultural paradigm, according to which art wants to be more than art, actively interfering with human life and society unites strategies of artistic synthesis. The differences in the approaches to the problem of artistic synthesis in the European culture of the XIX–XXth and the XXIst centuries are associated with a set of problems to be solved. First of all, the focus of realization of this synthesis is either to establish harmony between artistic consciousness and existence or to transform social reality or to satisfy a person’s need for self-affirmation. This focus also determines the sphere of artistic synthesis — in consciousness, language, or social or anthropological practice. In contemporary studies of art synthesis, the examination of new potentials of art involvement into the reality of life, engagement into the art-aesthetic communication of active recipients as a co-participant of the art event continues.
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Podguzova, O. A. « SERGEY YAKOVENKO : HE KNEW HOW TO EMBRACE THE IMMENSITY ». Arts education and science 1, no 3 (2020) : 173–82. http://dx.doi.org/10.36871/hon.202003021.
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The article is dedicated to the famous singer and teacher, Doctor of Arts Sergey Borisovich Yakovenko. It presents selected pages of the master's life, his performing activity, tells about the musician's creative contacts with representatives of Russian culture of the second half of the XXth – early XXIst centuries. The first performer of many modern vocal works, monooperas, cantatas and oratorios, outstanding and little-known works of world music, romances and songs by Soviet composers, S. B. Yakovenko is also a major figure in science, education and musical enlightenment. His research focuses on a wide range of issues related to vocal creativity, performance interpretation and singing traditions. The article also presents the basic pedagogical principles of the musician. The publication contains the material from one of the last works of S. B. Yakovenko "Three Hundred Years Without a Director", which never saw the light. It is devoted to the history of musical theater, the role of director, conductor and composer in it. The source for this research were the books of the prominent singer and teacher, articles about his work, personal conversations of the author with S. B. Yakovenko.
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Zachinyaeva, M. P. « AFTER READING "HAMLET" : THREE VIEWS ON A MASTERPIECE BY W. SHAKESPEARE ». Arts education and science 1, no 4 (2020) : 96–102. http://dx.doi.org/10.36871/hon.202004012.
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This article is devoted to modern interpretations of W. Shakespeare's famous play in Russian music at the turn of the XXth — XXIst centuries on the example of R. Shchedrin's "Hamlet Ballad" — an instrumental work for the cello ensemble (2004), operas of the same name by S. Slonimsky (1991) and V. Kobekin (2006). Little-known pages from the history of creation and stage fate of "Hamlet Ballad" by R. Shchedrin are opened. The main emphasis in the publication is placed on the work of Vladimir Kobekin as the most radically read domestic version of the classic tragedy of the English playwright. The author defines the historical preconditions and reasons explaining the genre transformation of the opera into a comedy. Moreover, the author considers the distinctive features of Arkady Zastyrets's play, on which V. Kobekin relies in his libretto, from the "classical" Russian translation by Boris Pasternak, which is the basis of the opera by S. Slonimsky. The facts of the creative biography of contemporary Russian playwright and translator Arkady Zastyrets (1959–2019) are more fully revealed. The article also touches upon the musical dramaturgy of V. Kobekin's opera "Hamlet".
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Alekseeva, I. V. « MARGARITA ZELENAIA : "THE AGONY IN THE GARDEN" BASED ON EL GRECO Musical interpretation of the Gospel story ». Arts education and science 1, no 3 (2021) : 132–40. http://dx.doi.org/10.36871/hon.202103017.
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Individualization in music art at the turn of the XXth – XXIst centuries affected not only the concept of the composer's opus, but also the style, manner of writing, and composition of performers. At the same time, the focus on novelty coexists with the actualization of artistic experience of the near and distant past. In addition, the junction of these trends includes "excursions" to other art forms. In this sense, particularly interesting are the works by the composers at the intersection of cultures, epochs and languages. Such examples include the poem for viola and piano "The Agony in the Garden" (based on El Greco's painting) by Margarita Zelenaia (born 1954) — composer, pianist, teacher, organizer, uniting the traditions of Russian and Western schools. The article deals with the specifics of the musical implementation of the eternal Gospel story depicted in the painting "The Agony in the Garden" by the Renaissance artist El Greco. The concept of Margarita Zelenaia's unique programme work is born at the "crossroads" of various types of art and the Gospel word, modernity and Baroque. Her dramaturgy is based on a system of symbolically loaded leitentonations — the author's reinterpretation of the rhetorical figures of the Baroque.
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Yessenbayev, А., Т. Т. Musabayev, A. A. Kornilova et R. U. Chekaeva. « Aspects of the historical transformation of the residential environment (based on the example of Astana city) ». BULLETIN of the L.N. Gumilyov Eurasian National University. Technical Science and Technology Series 149, no 4 (2024) : 145–61. https://doi.org/10.32523/2616-7263-2024-149-4-145-161.
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Urbanized spaces are evolving to meet societal needs, with residential structures being a crucial component of cities, including typological groups, complexes, blocks, and neighborhoods. Changes in the residential environment are a crucial aspect of urban and societal development. Transforming residential environments is directly linked to the dynamic modernization of cultural living standards. Historically established residential areas and buildings are undergoing renovation and adaptation to meet new city demands, involving physical changes, socio-cultural, economic, and environmental aspects. The proposed article focuses on uncovering the transformation features of a specific period in the historical development of residential spaces. The research is based on the study and analysis of historically established spaces and reviews of theoretical perspectives by domestic and international scholars. It emphasizes the spatiotemporal and socio-environmental aspects of synthesizing transformed spaces. In this context, the article addresses issues of transforming urban territorial units during the historical formation of spatial changes in the environment over a specific period. The study considers matters within the temporal framework of the late XXth and early XXIst centuries, with the aim of identifying the features of Akmola, the modern city of Astana, and the ways in which residential structures are undergoing transformation.
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Yurchenko, Vitalina. « Modern Manifestations and Transformations of Traditional Forms of Ukrainians’ Trade Activities in the XXth to Early XXIst Centuries (Exemplified by Slobozhanshchyna) ». Folk art and ethnology, no 2 (30 avril 2018) : 77–87. http://dx.doi.org/10.15407/nte2018.02.077.
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Pichtownikowa, Lydia. « The evolution of the style of the German poetic fable of the late XXth and early XXIst centuries : linguistic synergetic, sociocultural aspects ». 98, no 98 (25 décembre 2023) : 53–59. http://dx.doi.org/10.26565/2786-5312-2023-98-07.
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The article studies the evolutionary trends of the modern German fable. The fables of Reiner Kuntze and James Kruse show the departure of the modern fable of the late ХХth and early ХХІst centuries from the literary canons of the classical Aesopian fable, which to varying degrees accompanied the German fable over the centuries, new ways of creating images-symbols, building a style and compositions, the phenomenon of hierarchical plots and the inclusion of a modern fable in another literary genre. To illustrate all these innovations, fables and fable chains of this authors were analyzed to reflect in them modern socio-cultural realities, cultural codes, which nowadays have a significant capacity and deep meaning. The revealed transformations of the form of the modern fables, its style, the incompleteness and hierarchy of plots and images-symbols contribute to the more powerful possibilities of the fables to convey more and more information with a relatively short text. From a synergetic point of view, the modern fable is becoming an increasingly open system that actively involves the reader in the development of its images-symbols and plot. This process becomes much more effective than in fables of past eras. The mechanism of reflecting sociocultural factors through the goal-attractors, stylistic attractors and the specificity of language and speech in the fable as a synergistic system is explaned. The reflecting of the complex sociocultural factors in the modern fable is based on the fact that socioculture is a semiotic system, a set of signs and symbols. This makes it possible to establish the correspondence of the components of socioculture with other semiotic systems - attractors of the fable, its language and stylistics and to analyze the factors of modern culture, synergistic goals-attractors of fables and stylistic attractors dependent on them.
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Fedorenko, Svitlana, et Kateryna Sheremeta. « STUDYING A PROFESSIONAL LANGUAGE IN LINGUODIDACTIC AND LINGUISTIC ASPECTS ». Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no 11(79) (29 septembre 2021) : 42–45. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-42-45.
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The article focuses on the process of developing scholarly ideas on professional languages in the linguodidactic and linguistic aspects in the middle of the XXth–early XXIst centuries. Some theoretical definitions of the notion “professional language” and its features are systematized and concretized. It is emphasized that today the issues of studying professional languages are characterized by interdisciplinary orientation, covering applied linguistics, functional stylistics, theory of intercultural communication, linguodidactics, etc. It is noted that in the linguodidactical aspect, the professional language is considered as a subject of professionally oriented learning, and from the point of view of linguistic direction, professional language is viewed as a dynamic component of the national language. It is concluded that the professional language as a functional variety of the national language is a historical category with its own specifics, and in terms of its place in the national language, the professional language is considered as: 1) a general language structure of the national language in the status of an autonomous fragment; 2) an integral part of the national language. The term “academic and professional language” is highlighted, refering to the type of the language used by discursive communities or groups of professionals who share common values and use the same genres and terminology for communication.
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Jiatao, Hao. « YURI ВASHMET : FACETS OF CREATIVE INDIVIDUALITY ». Arts education and science 1, no 30 (2022) : 162–66. http://dx.doi.org/10.36871/hon.202201019.
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The article describes the multifaceted creative activity of Yuri Bashmet, one of the most outstanding musicians of our time, consisting of regular and fruitful performing, teaching and conducting work. It also covers various aspects of his performing style, his manner of performing interpretation, which has an enormous influence on the listener, as well as on contemporary composers who have dedicated their opuses to the musician. It is emphasized that Bashmet's work has a huge impact on Russian culture, forming a global cultural context, generating more and more forms of influence on all spheres of modern life. Particular attention is paid to his pedagogical skills, which come from a hedonistic attitude and are aimed at expanding the repertoire by including unknown opuses of the past and works by modern authors. The article touches upon the method of mastering the art of playing the viola, based on bold experimentation and searching for effective ways of working on a piece. The panorama of the artist's creative contacts with outstanding musicians of the XXth – XXIst centuries is presented. His large-scale organizational and educational mission in the modern cultural life of the society is revealed, and his role in discovering new names and talents is determined.
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Cirella-Urrutia, Anne. « Enfants en temps de guerre et littératures de jeunesse : XXe–XXIe siècles (Children in times of war and youth literatures : XXth–XXIst centuries) ». Children's Literature Association Quarterly 39, no 3 (2014) : 451–53. http://dx.doi.org/10.1353/chq.2014.0037.
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Shmeleva, N. V., et A. V. Babaeva. « Deontological aspects of perceiving people with disabilities in the context of contemporary culture ». Psychological-Educational Studies 9, no 1 (2017) : 125–34. http://dx.doi.org/10.17759/psyedu.2017090113.
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The article analyzes the problem of negative influence of the mass culture on value orientations of a modern person when the corporality is idealized. The priority of the visual principle in the mass culture of the XXth – beginning of XXIst centuries changes the human relation to his/her own and someone else's body, because the visual is inextricably linked to the reproduction of uniform idealized visual images, as well as to defining static social and cultural human roles judging just by the physical body condition (when positive characters often have an idealized appearance, and embossed body contours while negative ones have physical limitations). The desire and, at the same time, the inability to attain a perfect body condition becomes one of the significant reasons for social and cultural tension when a growing negative attitude towards people with disabilities is detected. In order to overcome the social tension, specific solutions are required. That makes it actual to appeal to deontology (a science about what must be done, aimed at the moral renewal of society). Ethical and deontological culture, pedagogical, environmental and social deontologies are of great importance as these are developing a concept of new system of values destined to overcome social and personal contradictions. The work is carried out with support of Ministry of Education and Science of Russian Federation № 05.043.11.0025.
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Samoilova, N. K. « CONSTANT AND VARIABLE IN THE STYLE OF A RUSSIAN PIANO QUARTET ». Arts education and science 1, no 2 (2020) : 69–74. http://dx.doi.org/10.36871/hon.202001008.
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The process of the steady rooting of invariant genre features of a piano quartet is considered through the ratio between stable and mobile features. Here there is either the complete independence of the instruments, but on the principles of equal participation in the embodiment of musical content, or the variability in the relations of instrumental parts. As the main ones in the genre, the musical norms of the classic-romantic style and the stability of the timbre composition are established. It is noted that in Russian music the evolution of the piano quartet passed through different phases: genre stabilization and recovery, temporary stop and subsequent active development. Transformation processes went through different levels: structure, content, instrumental- timbre solutions, rethinking the functional roles of partner instruments. The movement from the traditional normativity of instrumental compositions to the difference of timbre combinations in the XXth–XXIst centuries was primarily predetermined by such factors as polyphonization of texture, the active introduction of polyphonic forms, new techniques of instrumentation. In the modern piano quartet, the central idea of chamber music making, the idea of co-creation generates both an extremely individualized form of embodiment and a free timbre composition. In conclusion, it is noted that the piano quartet genre has the ability to accumulate the leading style trends in chamber music of different eras.
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Lepetiukha, A. V. « MONO- AND POLYPREDICATIVE UTTERANCES WITH LEXICAL-SYNTACTIC SYNONYMY (BASED ON THE MATERIAL OF FRENCH FICTION OF THE XXth – THE BEGINNING OF THE XXIst CENTURIES) ». Науковий вісник ДДПУ імені Івана Франка. Серія : Філологічні науки (мовознавство), no 15 (2021) : 93–98. http://dx.doi.org/10.24919/2663-6042.15.2021.17.
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Bazarov, Viktor Borisovich. « THE MONGOLIAN-JAPANESE RELATIONS AT THE END OF THE XXth - BEGINNING OF THE XXIst CENTURIES : FORMATION OF THE EAST ASIAN "THIRD NEIGHBOR" OF MONGOLIA ». Вестник Восточно-Сибирского государственного института культуры 176, no 4 (24 décembre 2019) : 62–68. http://dx.doi.org/10.31443/2541-8874-2019-4-12-62-68.
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Bayrak, Galyna. « Geomorphological factors of development and placement of settlements of Mostisky district of Lviv region ». Visnyk of the Lviv University. Series Geography, no 47 (27 novembre 2014) : 3–17. http://dx.doi.org/10.30970/vgg.2014.47.812.
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Historical features of development of settlements of Mostisky district of Lviv region of Ukraine and influence on their formation of geomorphological conditions of terrain are analyzed. Geomorphological factors of placement of settlements were important at the first historical stages of building of terrain in the Middle Ages. The first settlements were concentrated at lower elevations along the valleys. With the expansion of the network of fortified castles, which were built on the hills, rural development held in conjunction with the middle part of the hills. On the low-lying areas are built local elevated areas in the marshes, where people were hiding from enemy Tatar raids. In ХVIII–ХІХ centuries rural building expands again along the valleys, and built palaces and manors were located on the upper parts of the slopes. The new wave of increasing settlements refers to 30th years of the XXth century, the building blocks occupy the middle of the slope of the valleys and the upper beams. In 60–80th years of the XXth century is compacted blocks within settlements, as well as expansion of their neighbourhoods along the rivers and roads, rural industries in conjunction with a top of the slope. Modern building of the beginning of the XXIst century is mainly developed in the middle and upper portions of the slopes. The influence of relief on the modern structure of settlements and the prevailing relief situation of cities and villages of the district are defined in article. Eight types of relief situations of settlements of Mostisky district are identified: the series-line lower-slope, linear lower-slope, compact mid-slope, compact-branched mid-slope, branched mid-slope, circular mid-slope, sectional plains and compact plains. The series-line lower-slope is the prevailing form of settlement with respect to relief on a hill part of area, and in the lowlands – sectional plains. Key words: development of settlements, structure of settlements, a relief situation.
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Alekseeva, Irina V. « THE SOUND IDEAL IN INSTRUMENTAL MUSIC AND ITS EVOLUTION : RESEARCH PROBLEMS ». Arts education and science 1, no 34 (2023) : 46–53. http://dx.doi.org/10.36871/hon.202301046.
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The article raises questions about the methodology of studying the phenomenon and concept of the sound standard of instrumental music. An attempt is made to determine the role of acoustic and psychological factors in its evolution. The desire to substantiate and clarify the ideas formed in musicology about the a priori properties of instrumental sound caused the author to turn to significant and promising ideas of scientists, which have not yet developed into a theory. The sound value orientations of the musicians of the second half of the XXth — early XXIst centuries in working with the sound matter are defined. The analysis of cardinal turns in attitude to sound at the turn of the epochs leads to the involvement of similar processes of Baroque culture in the scientific field. The vector of the development of auditory perception is marked by the conditionality of the music-making practice. In this regard, the author analyzes the main observations, statements and generalizations in some of the most significant recent studies aimed at exploring new concepts of instrumental sound, timbre in close connection with modern writing techniques. Selected manuals on instrumentation and orchestration are used to determine the criteria for the ideal sound quality of the instruments. The prospects for further scientific research of the unique properties of instrumental sound as a special kind of latent energy, containing rich resources for conveying the essential content of the nonobjective in music, are outlined.
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Aidaraliev, Amantur. « The Religion Faith of the Kyrgyzs ». Technium Social Sciences Journal 16 (10 février 2021) : 631–41. http://dx.doi.org/10.47577/tssj.v16i1.2530.
Texte intégralRésumé :
Kyrgyzstan is a multi-ethnic and multi-faith society. This study highlights the role of religion in the development of Kyrgyz society in the XXth Century and the revival of it in the XXIst Century. In former USSR (Soviet Union) countries, these periods called “pre-Soviet era”, “Soviet-era” and “post-Soviet era”. The whole period during which the Kyrgyzs was exposed to Islam and adopted the faith divided into the following stages: i) from 9th to 14th centuries, ii) from 15th century to the second half of the 18th century, iii) from the end of the 18th century to the beginning of the 20th century, iv) from 1918 to 1991 (Soviet-era, atheism period), v) from 31 August 1991 (the date of the Independence Day and the collapse of the Soviet Era) to 2000, vi) from 2000 to present (Revival of Islam and other sects). The study discusses the development of islam in Kyrgyzstan at the above periods. Also, the development of post-Soviet democratic reforms in the Kyrgyz Republic has enabled the provision of many Islamic literatures, basic human rights, including the right to religious freedom. A democratic and open atmosphere in post-Soviet time had increased faith of true believers, however, is also attracted all kinds of non-traditional religious sects and groups. Thus, religion policy is used for various strategic and ideological dimensions and the role of religion in politics and in the life of society must be considered as one of the most important topic.
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Maydanets-Barhylevych, Olena. « Formation and Development of the Kyiv School of Art Textiles : Traditions and Innovations ». Almanac "Culture and Contemporaneity", no 1 (31 août 2021) : 158–65. http://dx.doi.org/10.32461/2226-0285.1.2021.238613.
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The purpose of the article is to outline – based on analyzing the development of the Kyiv School of Decorative Arts in context of the historical and artistic process of the XXth to XXIst centuries – the main principles of specialization Art Textiles on the ground of the Mykhaylo Boychuk Kyiv State Academy of Decorative and Applied Arts and Design. The methodology consists of applying an art history approach to historical and artistic analyses of works of artistic textiles, as well as the systematic consideration of peculiarities of the Kyiv School of Decorative Arts. The scientific novelty lies in the substantiation of a phenomenon of the Kyiv School of Art Textiles, creative-pedagogical and scientific-methodological means in teaching students, themes of diploma theses as an important component in preserving ethnic memory, and national-cultural identity. Conclusions. The results of the study highlight the features of the artistic language of the Kyiv School of Textiles, the specifics of scientific and pedagogical methods used in the Academy, as well as the creative guidelines of the teaching staff. Defined are prospective trends of development and strengthening of the Department of Art Textiles and Costume Modelling, principles of comprehending the conventional art and its transformation into the newest stylistic forms to meet today’s requirements. The scientific research gives an idea of the current state of decorative art and artistic textiles, and the creative contribution of the scientific and pedagogical staff of the ATCM Department in the context of the integration of Ukrainian art into the European cultural space.
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Petrunok, Nadia. « Render or Reality ? Virtuality and the Crysis of Distinction in Contemporary Philosophy ». NaUKMA Research Papers in Philosophy and Religious Studies 8 (23 novembre 2021) : 18–24. http://dx.doi.org/10.18523/2617-1678.2021.8.18-24.
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Modern philosophy tends to consider human reality in more and more interdisciplinary contexts. Thanks to that, at first traditional, and now new media as well as IT, attract philosophers’ attention and provide material for thinking over a lot of so-called “eternal philosophical questions”. Among them, there are some of the broadest questions: a) catching the margins of the real; b) understanding, which phenomena and objects to constitute human might be called real. The key goal of this article is to research one of the crucial concepts, which brings us to understanding reality, – the notion of virtuality. The author of this paper outlines background of this notion, describes its characteristics and usage in modern philosophical discourse. First of all, virtual is described in its connotations to all three dimensions of time being: past, present, and future. It is argued that the notion of virtuality at first used to be “rediscovered” by Gilles Deleuze, but then it has experienced crucial changes in philosophy of the XXth and XXIst centuries. By means of that, virtual is discussed as a counterpart of the concept of reality. In particular, this article touches upon a variety of connotations between the notions of virtuality, reality and actuality. It also shows the context of juxtaposition of the aforementioned notions. What is more, this paper reveals moral aspects of virtuality both in transcendental and as immanent senses. This article shows the background of indistinguishability for “real” and “virtual”. Finally, it is stated that in the situation of so-called “substituted reality” the multiplicity of connotations of the notion of virtuality ought to be used to rediscover the notion of reality itself.
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Lepetiukha, Anastasiia V. « АPPOSITIVE STRUCTURES AS SYNONYMIC DISCOURSE INNOVATIONS IN FRENCH FICTION OF THE 20th – EARLY 21st CENTURIES ». Alfred Nobel University Journal of Philology 1, no 23 (juin 2022) : 133–41. http://dx.doi.org/10.32342/2523-4463-2022-1-23-13.
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In this article the appositive structures of modern French fiction are studied in the continuum language → discourse and defined as two-basis (with several transformational terminal chains) synonymic transforms of the virtual (linguistic) primary subordinate proposition which are formed in the space of the operating time of a thought movement and actualized in the form of compressed discourse innovations with the implicit predication. The goal of this research is the establishment of the structural-semantic typology of mono- and polypredicative utterances with the appositive synonymic transforms of French fiction of the XXth – the beginning of the XXIst centuries, the inverse reconstruction (discourse → language) of the virtual transformational processes and of the primary proposition within the functional‑semantic macrofield of the analyzed appositive constructions and the justification of the co(n)textual pertinence of the actualized appositive preferential options. In the article the method of the inverse reconstruction of the systemic (linguistic) transformational operations is used with the aim to reveal all the members of synonymic chains. The “alternative” linguistic experiment, that consists on the artificial substitution by the recipient of some utterance of the analyzed discursive fragment with the synonymic utterance, allows to determine the degree of the co(n)textual pertinence of the primary proposition and of each synonymic transform. The immediately and distantly pre-, inter- and postpositive mono- and polysynonymic (with the polysynonymy in the level of a syntagm and the utterance) appositive preferential options with explicative, concessive, conditional and causal semantic values are distinguished. They revealed the mono- and polypredicative utterances: a) with explicit actant-referent point of the appositive segment; b) with implicit actant and indirect designation of the appositive referent by the immediate actant markers in the form of possessive, demonstrative et al. adjectives that introduce the substantive which marks the part of body, the human condition, the feeling etc.; c) with implicit actant and indirect designation of the appositive referent by the distant actant markers (most often by the personal pronouns direct and indirect complements). The virtual transformational processes are inversely reconstructed and the degree of the co(n)textual pertinence of each member of the synonymic chain of analyzed appositive constructions conditioned by the author’s intention to avoid the reactualization of the exteriorized referents, the overload of the co(n)text with complex predicative constructions or by his idiostylistic peculiarities, is determined.
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Mukhtarova, A. S., et O. A. Alimuradov. « Some linguistic peculiarities of the English and Russian rap texts : a comparative study drawing on the material of texts of grime microgenre ». Current Issues in Philology and Pedagogical Linguistics, no 2(2020) (25 juin 2020) : 133–46. http://dx.doi.org/10.29025/2079-6021-2020-2-133-146.
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The article is devoted to a comparative analysis of the linguistic characteristics of the English- and Russian-language song discourse of the late XXth – early XXIst centuries drawing on the material of music works of rap genre. Today, rap is one of the most popular music genres around the world. This musical genre is developing dynamically, comprehending various aspects of modern life, people’s problems, and therefore it has a fairly wide audience. The topicality of the research is determined by the need to deepen the linguistic understanding of creolized texts, the lacunarity of the concept of genres of polycode texts, as well as a high degree of intertextuality of the studied texts. The English and Russian-language texts of rap music works by such artists as Skepta, Oxxxymiron hae served as the material for the research. The Genius website was the source of the texts. Special attention is paid to the classification of subgenres and microgenres of rap with the allocation of the grime microgenre, which has been taken as the key genre for the study. On the basis of the results of the empirical analysis of the discursive material, the authors claim that the Russian- and English-language grime microgenres have some common and differential features. Common features include the use of precedent names, explicit citations, the use of metaphors, antitheses, repetitions, pun, slangisms, obscene lexis, and edlibs. In the English-language grime, there are no allusions to mythology, biblical text, or other literary works that are frequently present in the tracks of the Russian-speaking artist. The authors conclude that various ways of implementing intertextuality are represented in a wider spectrum in the Russian-language grime than in the English-language grime
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Lepetiukha, Anastasiia. « СONTINUUM LEXICAL → LEXICAL-SYNTACTIC → SYNTACTIC SYNONYMY IN THE PROCESS OF CAUSATION OF LANGUAGE-SPEECH ACT (based on the material of modern French fiction) ». PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no 41 (2022) : 7–20. http://dx.doi.org/10.17721/2663-6530.2022.41.1.
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The article is dedicated to the studies of lexical, lexical-syntactic and syntactic synonymies from the standpoint of mentalist theory of the French scientist G. Guillaume who presented the process of causation of language-speech act in the form of the trine: mental operations → language → discourse at the level of each component of which function the psychomechanisms (conscious and unconscious cognitive polyoperations of formation and actualization of linguistic signs) ensuring intercepts (stops) of the movement of thought during which simple and complex linguistic signs are formed. It is found that the synonymic relations appearing on the first intersept of the movement of thought are manifested in the discourse in the form of lexical synonymy; syntactic synonymy of the level of syntagma is created on the second intersept and syntactic synonymy of the level of utterance – on the third intersept of the movement of thought; lexical-syntactic synonymy is formed if lexical synonymy transitions to synonymy of the level of syntagm or proposition. As a result of the analysis of the examples of French authors’s prosaic works of the XXth – the beginning of the XXIst centuries at the level of lexems the absolute synonymy characterized by the symmetry of significative and denotative meanings of the lingua-discursive sign, the partial synonymy inherent to lingua-discursive signs with semantic nuances and the desynonymy (pseudosynonymy) (designation of one referent by the lingua-discursive sign with the asymmetry of significative and denotative meanings in the language and in the discourse) are revealed. The conducted analysis allows to make a conclusion that at the level of lexical‑syntactic and syntactic synonymies only the partial synonymy exists because in mono- and polypredicative utterances with lexical-syntactic and syntactic synonymies the complex of virtual (linguistic) referents with the implication of some components and the focalization of new referents is actualized.
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Putecheva, Olga A. « MYTH AS THE BASIS OF MUSICAL MEANING-MODELLING IN THE WORKS OF A. BAKSHI ». Arts education and science 2, no 35 (2023) : 52–60. http://dx.doi.org/10.36871/hon.202302052.
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The modern cultural situation is characterized by the increasing role of mythology and mythmaking. The relevance of the study of myth and the mechanisms of mythologization is associated with its special role in music and theater, with the desire to know the deep, essential connections and relationships, the common in the special. The purpose of the work is to comprehend the mechanism of creative approach to the myth. In the XXth – early XXIst centuries, artistic creativity is not only inspired by images, myth plots, but creates its own myth based on archetypes in the system of mythological modelling. The interaction of music and myth at the point of the ritual opens up new possibilities of meaning and expression. The use of myth in its cognitive aspect gives music a stable structure, fixing semantic points in the form of a plot, a story. Myth acquires the energy of a living voice in sonic mysteries. In the work of the composer A. Bakshi, the musical formulas that contribute to the expression of mythological content are actualized. The article identifies three approaches to the use of mythopoetic structures: myth as a plot basis of musical image, work with sound equivalents of archetypal components of myth, and creation of mythologizing sound structures. In the first case, myth serves as the narrative source of one of the sections of the mystery "Polyphony of the World", 2001. Mythological thinking becomes a way and method of working with musical matter (performance "Hotel Room in the City of NN", 1994); finally, myth is created by sound expression ("Sidur-Mystery", 1992). Aesthetically, myth is interpreted as an artistic and semantic matrix, leading to the comprehension of the sonic material.
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Alekseeva, Irina V. « THE THEME OF MEMORY IN MIKHAIL KOLLONTAY’S TRIO “TEN WORDS OF MUSSORGSKY ON THE DEATH OF VICTOR HARTMANN” ». Arts education and science 4, no 37 (2023) : 44–52. http://dx.doi.org/10.36871/hon.202304044.
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In the spiritual life of a person, remembrance plays a significant role. The resurrection of the priceless past experience of one’s own and someone else’s opens the way to comprehension of the present, one’s own Self. Artists strive to reflect the amazing ability of a person to cross the border of the real and sacred worlds in memory. In the musical art of the second half of the XXth — early XXIst centuries, the theme of memory is embodied through a dialogue of compositions from different eras, traditions, concepts. In this vein, the article examines the unique composition by our compatriot and contemporary Mikhail Kollontay “Ten Words of Mussorgsky on the Death of Viktor Hartmann” for piano, cello and violin. Created in the wake of Mussorgsky’s piano cycle “Pictures at an Exhibition” and the International Competition and Festival of Arts in Vienna (1993), the trio embodies the journey of human memory along the paths of the afterlife. Reflecting the aesthetics of postmodernism and not belonging to the sphere of sacred music, the composition is devoted to the key themes of “life and death” and “salvation through repentance” for the Russian Orthodox consciousness. It intricately intertwines intra- and extramusical components (title, titles of plays, quotations from literary sources, artistic artifacts, comments in the author’s letters, etc.), which form a dialogue between the “alien” and the “own”, the past and the present, the secular and the spiritual. The analysis of the timbro-sonic side, intonation vocabulary, thematicism and its compositional and dramatic organization reveals vivid signs of the poetics of memory. They build an original concept of the trio, which demonstrates its enduring value in the Russian and, wider, world cultural space. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.
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Sergiy, Savchuk. « International legal regulation of non-standard forms of employment ». Yearly journal of scientific articles “Pravova derzhava”, no 31 (2020) : 522–32. http://dx.doi.org/10.33663/0000-0002-3162-2369.
Texte intégralRésumé :
The article is devoted to the research of international experiences in the area of regulation of non-standard forms of employment. Currently, the issues relating to labour rights are regulated by an entire system of international instruments, including the Charter of the United Nations (1945), the Universal Declaration of Human Rights (1948), the International Covenant on Economic, Social and Cultural Rights (1966), as well as Conventions and Recommendations of International Labour Organization. In addition, according to the Article 424 of Association Agreement between the European Union and its Member States, of the one part, and Ukraine, of the other part (2014), our country shall ensure gradual approximation to the EU law, standards and practices in the area of employment, social policy and equal opportunities. The article provides an analysis of ILO Conventions and Recommendations as well as EU Directives on issues of temporary employment, part-time work, on-call work, outstaffing and other multiparty labour relations; disguised labour relations and dependent self-employment. It pays special attention to reflect subcontractual relations in the provisions of international labour law. It is concluded that even though subcontractual relations cannot be directly covered by labour law, some ILO Conventions and EU Directives reflect them in their provisions. It draws conclusion that despite the fact that non-standard forms of employment emerged almost along with standard labour relations, the regulation of the former at the level of international instruments appeared only in the second half of the XXth - beginning of the XXIst centuries. At present, non-standard forms of employment are covered by international instruments only partially. At the same time, such coverage is not comprehensive nor focused specifically on non-standard employment. The provisions of the ILO and EU instruments are characterized by a harmonious co-relation regarding the regulation of non-standard forms of employment. This is due to the fact that many EU member states have ratified ILO Conventions addressing non-standard forms of employment.