scholarly journals SCIENTIFIC BASE OF CULTURAL AND EDUCATIONAL ACTIVITIES IN THE PALEONTOLOGICAL MUSEUM OF LIAONING IN CHINA

2020 ◽  
pp. 236-241
Author(s):  
Tengfei Liu ◽  
Keyword(s):  
Natural History ◽  
Liaoning Province ◽  
Main Task ◽  
Russian Scientist ◽  
Educational Activities ◽  
Popularization Of Science ◽  
History Of ◽  
The Creation ◽  
The Rich ◽  
Scientific Base

The article covers the formation of the scientific base for working with visitors at the Paleontological Museum of Liaoning in China. The original reason for the creation of the museum is stated, it was connected with 1990s, when numerous fossils were discovered in Liaoning province. The first of them were Sinosauropteryx and the Liaoning ancient fruit (Archaefructus liaoningensis). Later large number of fossils were discovered, they represent the flora and fauna of China existed more than 3 billion years ago. It is important to say that the Liaoning Provincial Department of Land Resources and Shenyang University saw scientific value of the paleontological findings. They decided to build a paleontological museum on a parity basis. Construction of the museum building at Shenyang University began in 2006, and the Paleontological Museum of Liaoning was opened in 2011. The world-famous paleontologists contributed immensely to the formation of the Paleontological Museum of Liaoning. They are Sun Ge (Chinese researcher), M.A. Akhmetyev (Russian scientist), F. Mosbrugger (director of the Museum of Natural History of Germany), K. Johnson (director of the Smithsonian National Museum of Natural History, Washington, USA) and professor P. Godfroy (Royal Institute of Natural History of Belgium). The staff of the Liaoning Museum, part-time researchers, as well as student volunteers of the Shenyang University participated in the development of the museum resources. Thanks to joint hard work, the museum has collected more than 30 thousand paleontological fossils. At present, the collection of the Liaoning Museum includes all kinds of animals and plants of ancient China, they are subdivided into seven classification groups. The reliance on the rich resources of the museum ensured the creation of the exposition, which occupies eight exhibition halls. They exhibit genuine monuments of paleontology, as well as replicas and models. They acquaint visitors with the ancient world of China, communicate the geological history of the Liaoning province, and reveal the kingdom of dinosaurs. The author of article emphasizes that in 2011, when the museum was opened, a department for the popularization of science was formed along with other departments. The main task of the workers of this department was to carry out cultural and educational activities with specialists and ordinary visitors. The department organizes exhibitions in China and abroad, conducts seminars for workers of Chinese nature museums. The scientific and educational section within the department for popularization of science also work with schoolchildren. During the first nine years of the museum's creation, three million single visitors and twenty thousand social groups have visited Paleontological Museum of Liaoning. So the article reveals the importance of cultural and educational activities that ensures the cooperation of the Liaoning Museum with other schools and museums in China, brings the museum to the international level.

РАССКАЗЫ В.ШУКШИНА И ПРОБЛЕМЫ ПЕРЕВОДА ИХ НА КЫРГЫЗСКИЙ ЯЗЫК

2020 ◽  
pp. 77-81
Author(s):  
Джээнбүбү Бегеева
Keyword(s):  
Key Words ◽  
Russian Literature ◽  
Main Task ◽  
Stylistic Variation ◽  
Psychological Feature ◽  
Translation Analysis ◽  
History Of ◽  
The Creation ◽  
Problems Of Translation

Аннотация. В статье анализируется качество переводов рассказов В.Шукшина, осуществленных в середине 70-х годов С. Наматбаевым. Переводоведческий анализ вывил многочисленные стилевые расхождения между оригиналом и переводом. При переводе одного из лучших рассказов Шукшина «Чудик» искажения стиля не передали психологические тонкости рассказа. При переводе рассказа «Дядя Ермолай» философский аспект рассказа выпал, так как переводчик исказил жанровую специфику. Перевод рассказа «Два письма» оказался более качественным по сравнению с предыдущими. Переводчик рассказа «Два письма» сумел приблизиться к оригиналу, расшифровать его основную тональность, воспроизвести атмосферу напряженных поисков истины героем рассказа Николаем Иванычем. Этот перевод оказался более качественно выполненным по сравнению с предыдущим рассказом «Дядя Ермолай». Причину переводческого успеха можно объяснить, прежде всего, доступностью содержания рассказа, да и сам герой не столь сложная и глубокая личность, как повествователь в рассказе о дяде Ермолае. В целом, переводы С.Наматбаева являются своеобраз- ным этапом в переводческом деле. В настоящее время необходимо более полное и глубокое восприятие творчества В.Шукшина и создания новых адекватных переводов. Ключевые слова: качество переводов, стилевые расхождения, психологические тонкости, философский аспект, этапом. Аннотация. Макалада В.Шукшиндин аңгемелеринин кыргыз тилине которуудагы сапаты каралат, котормолор 1970-жылдары котормочу С.Наматбаев аркылуу жаралган. Котормонун сапатына талдоо жүргүзгөндө көпчүлүк каталар табылган, алардын эң олуттуусу стилдердин айырмасы, негизги чыгарма менен котормонун ортосунда. Мисалы, “Чудик” деген аңгеменин психологиялык мүнөздөмөсү жоголуп кеткен. “Ермолай байке” деген аңгемеде жанрдын туура эмес берилишинен жазуучунун негизги ою жоголуп кеткен. “Эки кат” деген аңгеме беркилерге караганда сапаттуу которулган. Котормочу " Эки кат" деген аңгемени оригиналга жакындатып которгон. Башкы каарман Николай Иванычтын изденүүлөрүн, ойлорун, чындыкты табууга аракеттерин Шукшинден кем эмес окуучуларга жеткирген. Котормочунун жетишкендиги аңгеменин түшүнүктүү мазмуну менен түшүндүрсө болот, жана Николай Ивановичтин жөнөкөйлүгү менен. С.Наматбаевдын котормолору каталарына карабастан котормочулук иште алдыга жылуу болгон. Бирок, азыркы заманда сапаттуу котормо жаратууда мезгил келди. Түйүндүү сөздөр: которуудагы сапаты, стилдердин айырмасы, психологиялык мүнөздөмөсү, негизги ою жоголуп. Annotation. The quality of translation of the Shukshins stories is analyzed in the Middle 70- years. By S.Namatbaev. The translation analysis had idenh hed numerous style discrepancies between the original and the translation. The psychological feature of the compasihion were not be hansfered by the translation one the bestand famous story by. V.Shukshin due to distorhion of the style. By the translation of the story “The uncle Ermolai” had full a phisichal aspect of the story, because the translator had distorted the genre specifics. The translation of the stories “Two letters” was wade more qualitative comparated with another stories. Generally, the Namatbaevs translation are a sui generis stage in the translatiobs. We need currently more total and profound perception of the creation by V.Shukshin. The create of the new adeavate translation is the main task. The head of the theory and history of Russian literature department. V. Shukshin’s stories and problems of translation them into Kyrgyz language. This article is analysed the quality of translation of V. Shukshin’s stories, which were written in 70 th with S. Namatbaev. Translation analyse deduced many stylistic variations between translated version and original. There is a misrepresentation, was not transmitted psychological subtleties of the story in translation of one of the best V. Shuk- shin’s story “Wierdo”. Metaphysical dimension is disappeared in translation of the story “Uncle Ermolai”, since translator destort the genre specificity. The translation of the story “Two letters” has been more qualitative in comparison with previous translations. In common, S. Namatbaev’s translation is a genius stage in translation. It needs more full and deep comprehension of S. Shukshin’s work and to establish new suitable translation. Key words: Quality of translation, stylistic variation, psychological subtleties, metaphysical dimension, stage.

scholarly journals Chaos and Order: Contemporary Cosmology and Myth

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Milan Tomašević
Keyword(s):  
Modern Science ◽  
Cultural Dimension ◽  
Main Task ◽  
Stephen Hawking ◽  
Modern Cosmology ◽  
History Of ◽  
The Creation ◽  
Definition Of ◽  
The Universe ◽  
Concise Definition

The paper offers a definition of cosmology and its connections with mythology, and presents contemporary theories as a secular mythical narrative suitable for anthropological analysis. The paper is dedicated to emphasizing the folklore characteristics of modern cosmology and points to the importance of popular cosmological narratives as reading that contains culturally, philosophically and even religiously relevant elements. Special attention is paid to cosmogonic myths that describe the state of the universe before the creation of space and time. A parallel has been drawn between modern cosmology and conventional cosmogonic myths. In the end, the paper offers a concise definition of popular cosmology and recalls the most important authors and popularizers of modern theories. The main task of the paper is to present the basic concepts that can contribute to a complete understanding of the anthropological character of the presentation of contemporary cosmology that we encounter in popular narratives. The aim of such an analysis is to observe the depth of the significance of modern science for creating a philosophical picture of the world that inherits secular worldviews. By treating popular cosmology as a modern myth, the paper presents a new dimension of the significance of scientific theories for today's civilization. Such an approach unravels the strictly positivist halo of cosmology and points to its anthropological character. The concepts highlighted in the paper serve as an illustration of the significance that the image of the universe and the position of the Earth has for the history of civilization. By presenting the cultural dimension of cosmology, it opens a space for dialogue between different branches of scientific research, i.e. it contributes to the communication of philosophy and science. Equally important, by illuminating the folklore character of the narrative of the origin and history of the universe, a training ground is created for philosophers and theologians who, in their own ways, interpret the creation of everything around us. By drawing attention to authors such as Neil deGrasse Tyson, Lawrence Kraus, Stephen Hawking, Michio Kaku and others, as contemporary bards and narrators, the paper seeks to contribute to the understanding of popular cosmology as an expression of modern man's need for great stories, for narratives that transcend the spatial and temporal frames of one generation, and that is exactly what myths do.

Georg Marcgraf (1610 – c. 1644): A German Cartographer, Astronomer, and Naturalist-Illustrator in Colonial Dutch Brazil

Itinerario ◽  
2001 ◽  
Vol 25 (1) ◽  
pp. 85-122 ◽  
Author(s):  
R.P. Brienen
Keyword(s):  
Natural History ◽  
New World ◽  
Botanical Garden ◽  
Military Leaders ◽  
The Pacific ◽  
History Of ◽  
The Rich ◽  
West India Company ◽  
Visual Materials ◽  
Dutch Brazil

The German scholar Georg Marcgraf was the first trained astronomer in the New World and co-author of the earliest published natural history of Brazil, Historia naturalis Brasiliae (Leiden and Amsterdam 1648) (Fig. 1). Arriving in the Americas in 1638, Marcgraf took his place among a remarkable group of scholars and painters assembled at the Brazilian court of the German count Johan Maurits van Nassau-Siegen (1604–1679), the governor-general of Dutch Brazil from 1637–1644.1 Dutch Brazil was established by the Dutch West India Company (WIC), which was created in 1621 to engage in trade, conquest, and colonisation in the Americas and Africa. Except for Marcgraf, the most important members of the Count's entourage were Dutch and included the painters Albert Eckhout (c. 1610 - c. 1666) and Frans Post (1612–1680) and the physician Willem Piso (1611–1678). The rich group of scientific and visual materials they created are comparable in both scope and importance with the works created by Sydney Parkinson, William Hodges, and others during the Pacific voyages of Captain Cook in the eighteenth century.2 The Count's support of natural history, astronomy, and scientific and ethnographic illustration during his governorship was highly unusual, setting him apart from other colonial administrators and military leaders in the seventeenth century. Indeed, he is responsible for establishing both the first observatory and the first botanical garden in the New World, sparing no expense in creating a princely empire for himself in the Brazilian wilderness.

scholarly journals Educational activity of P. Kulish: book publishing and folklore preservation

2020 ◽  
Vol 9 (26) ◽  
pp. 282-290
Author(s):  
Oksana Kravchenko ◽  
Nataliia Pyzhianova ◽  
Uliya Pidvalna ◽  
Iryna Reznichenko
Keyword(s):  
Mother Tongue ◽  
Book Publishing ◽  
Popular Science ◽  
Educational Activity ◽  
Science Literature ◽  
Educational Activities ◽  
History Of ◽  
Basic Functions ◽  
The Creation ◽  
Teaching Grammar

This article is devoted to the study of the educational activities of P. Kulish, which consisted in the creation of Ukrainian educational literature, preservation of monuments of national folklore. The following scientific research methods were used in the preparation of the article: method of generalization, method of comparisons and analogies, chronological and induction method. They pay attention to the analysis of the historical work called «The story about Ukrainian people». It was noted that it was one of the first educational books on the history of Ukraine, which, along with descriptions of historical events, included folklore material, taking into account some folk songs translated into Russian. The structure and content of the textbook for teaching grammar in the Ukrainian language “Gramatka” are examined in detail in the article. It is stated that the textbook contains a preface, twelve sections. The textbook's teaching material covers not only reading and writing skills, but also arithmetic, general historical science information. Also, for the first time, samples of oral folk art and other folk monuments were used as educational material. The results of the analysis of P. Kulish's textbook “Gramatka” suggest that it implements the basic functions of the textbook, namely: information, development and education. The textbook is clearly structured, it contains basic and additional texts, illustrations, various types of tasks and exercises. The authors point to P. Kulish's key role in publishing literary works of Ukrainian writers in separate brochures. It is noted that the creation and spread of religious works in the mother tongue was an important element in raising the overall educational level of the Ukrainian people. The results of the study indicate that P. Kulish's educational activities in the native language were effective through the means of educational, religious and popular science literature.

scholarly journals On the works of Nicholas K. Roerich in the Primorye State Art Gallery

2021 ◽  
pp. 58-71
Author(s):  
Е.П. Яковлева
Keyword(s):  
Soviet Union ◽  
Former Soviet Union ◽  
Art Gallery ◽  
Educational Activities ◽  
History Of ◽  
The Creation

В статье, основанной на материалах многолетних исследований автора, рассматриваются два произведения Николая Константиновича Рериха из собрания Приморской государственной картинной галереи. Внимание заостряется на причастности пейзажа «Туман» (1907) к серии «Финляндских этюдов» художника, а этюда «Дорожка» (1908) — к известной петербургской коллекции, в 1910-е годы принадлежавшей А.В. и Е.Л. Румановым. В настоящее время коллекция Румановых рассеяна по двадцати пяти государственным музеям бывшего Советского Союза. Больше всего произведений входит в собрание Русского музея. В Приморской картинной галерее хранится всего одна работа — этюд Рериха «Дорожка», и по ней довольно сложно судить о масштабе коллекции Румановых и месте данного этюда в числе других работ художника, входивших в ее состав. Уточнение истории создания и бытования обоих пейзажей Н.К. Рериха из собрания Приморской картинной галереи имеет важное значение для их изучения и научной каталогизации, а также для просветительской деятельности галереи. The article, based on the materials of the author's long-term research, examines two works by Nicholas Konstantinovich Roerich from the collection of the Primorye State Art Gallery. Attention is focused on the involvement of the landscape “Fog” (1907) in the series of “Finnish sketches” by the artist, and the sketch “Path” (1908) — in the famous St. Petersburg collection, in the 1910s owned by A.V. and E.L. Rumanov. Currently, the Rumanov collection is scattered across twenty-five state museums of the former Soviet Union. Most of the works are included in the collection of the Russian Museum. The Primorye Art Gallery has only one work — Roerich's sketch “The Path”, and it is quite difficult to judge the scale of the Rumanov collection and the place of this sketch among other works of the artist that were part of it. Clarification of the history of the creation and existence of both landscapes by N.K. Roerich from the collection of the Primorye Art Gallery is important for their study and scientific cataloging, as well as for the educational activities of the gallery.

Introduction: Writing Histories of Archaeology

2008 ◽  
Author(s):  
Tim Murray ◽  
Christopher Evans
Keyword(s):  
Natural History ◽  
Knowledge Systems ◽  
History Of Archaeology ◽  
Main Trunk ◽  
Tree Of Knowledge ◽  
Time Period ◽  
European Science ◽  
The World ◽  
History Of ◽  
The Creation

Any one of several organic analogies, particularly that of the Tree of Knowledge, might usefully serve as the leitmotif of this volume, and to help justify our choice of the plural in its title—‘Histories of Archaeology’, as opposed to the singular case prefaced with The or A. ‘Trees of Knowledge’ and/or ‘Development’ were widely used to portray nineteenth- and early twentieth-century knowledge systems, be they in architecture, languages, or race, and Pitt Rivers, for example, was especially fond of them. Trees can also symbolize the growth of disciplines. Archaeology had its roots in antiquarianism, history, philology, ethnology, geology, and natural history generally. From this grew the trunk that eventually branched out into various sub-disciplines (e.g. biblical, Roman, medieval, scientific, and ‘new’ archaeology). The great meta-narratives of the history of archaeology have followed this approach, with ‘archaeological thought’ or ‘archaeological ideas’ having a common inheritance or ancestry in nineteenth- century positivist European science. From this main rootstock, it eventually branched into subdivisions and out into the world at large, fostering offspring archaeologies differentiated by geography, tradition, subfield, or time period (Daniel 1975; Trigger 1989). Our aim in this volume, and that of much of recent archaeological historiography, is to challenge this meta-narrative and to demonstrate that there has been a great deal more variability of thought and practice in the Weld than has been acknowledged. In this context we think that Kroeber’s ‘Tree of Life/Culture’ (1948) is a more accurate visualization of the growth of archaeology. Instead of just branching ‘naturally’, Kroeber’s branches have the capacity to grow back on themselves and coalesce in the way that ‘thought’, ‘subjects’, and/or ‘institutions’/‘networks’ do. Yet Kroeber’s model still relies on a single main trunk. If applied to the history of archaeology it would not distinguish, for example, that antiquarianism did not conveniently die out with the advent of archaeology as a discipline, and that its history and development has always involved multiple strands—in essence the existence of other possibilities and practices. We intend this volume to stimulate the exploration of these other possible archaeologies, past, present, and future, and to help us acknowledge that the creation of world archaeologies, and the multiplication of interests and objectives among both the producers and consumers of archaeological knowledge, will drive the creation of still further variability.

scholarly journals A New Caledonian Glasshouse in Paris

2011 ◽  
pp. 55-77
Author(s):  
Denis Larpin ◽  
Eric Joly ◽  
Maite Delmas
Keyword(s):  
Pacific Ocean ◽  
Natural History ◽  
New Caledonia ◽  
The Public ◽  
The Pacific ◽  
The Pacific Ocean ◽  
The Creation ◽  
The Rich ◽  
Current Concerns

This chapter discusses the renovation of the public glasshouses (Les Grandes Serres) at the Muséum national d’Histoire naturelle, Paris (MNHN) and particularly the creation of a glasshouse presenting the rich and unique flora of New Caledonia, a French overseas territory in the Pacific Ocean. The displays demonstrate past and current scientific studies carried out by MNHN researchers in all fields of natural history. Current concerns over the degradation of the biodiversity of the region have led to the decision taken by the Department of Botanical and Zoological Gardens to display this ecosystem. Five of the most threatened or important ecosystems of the archipelago have been recreated in the glasshouses and have full disabled access. The reopening of Les Grandes Serres was a landmark for the 2010 International Year of Biodiversity at MNHN.

scholarly journals Introduction and selection of the genus of Astilbe in the Main Botanical Garden named after N. V. Tsitsin of the RAS

2020 ◽  
pp. 52-58
Author(s):  
A. V. Kabanov
Keyword(s):  
Ornamental Plants ◽  
Botanical Garden ◽  
Early Flowering ◽  
Main Task ◽  
Main Principle ◽  
Breeding Work ◽  
History Of ◽  
The Creation ◽  
Two Hybrid ◽  
Selection Of

The Laboratory of Ornamental Plants of theof the Main Botanical Garden named after N. V. Tsitsin of RAS has collected a very representative collection of representatives of the genus Astilbe , which includes 132 varieties and 8 natural species.The collection contains all geographical groups of this genus that grow in temperate climates. At the first stage of collection, the main task was to include historical varieties that reflect the various stages of selection. We managed to collect a unique variety of varieties that reflects the breeding achievements of the vast majority of breeders of this crop and all known breeding centers. Special attention was paid to the creation of separate complexes of varieties belonging to both individual breeders and breeding centers. The result of the first stage of work was the creation of a collection of varieties that reflects the history of breeding culture over a 120-year period. Currently, selection work has begun on the basis of the collection. One of the directions of selection is to obtain high and early flowering forms of Astilbe . Currently, two hybrid samples have been selected, which are promising for use as a variety due to their decorative characteristics. Crosses are also carried out within the natural species Astilbemicrophylla and Astilbebiternata , which were previously little used in breeding and have valuable decorative features. Since the beginning of selection, the principle of selecting varieties for inclusion in the collection Fund has changed. Now the main principle of selection is to include varieties with valuable characteristics that can be used in breeding work.

Mediatization of Solidarity Myth at the Permanent Exhibition of the European Solidarity Centre

2019 ◽  
pp. 91-117
Author(s):  
Konrad Knoch
Keyword(s):  
New Media ◽  
Main Part ◽  
Historical Narratives ◽  
Main Task ◽  
Short History ◽  
The Past ◽  
Historical Museums ◽  
History Of ◽  
Digital Methods ◽  
The Creation

This chapter attempts to define the concepts of myth and of mediatization in the context of building great historical narratives. Modern historical museums and narrative exhibitions are treated in the publication as new media whose main task is to communicate narratives about the past to mass audiences, using digital methods of recording, saving, storing data, as well as of creating and transmitting messages. The chapter describes a short history of the creation of the European Solidarity Centre in Gdańsk and the permanent exhibition. In the main part, the text also describes how the ECS (and the permanent exhibition located within) attempt to both present the myth of solidarity and to mediatize it.

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