scholarly journals HISTORY OF RUSSIAN MONGOLIAN STUDIES OF THE 1920–1930s ON THE PAGES OF «VOSTOK» JOURNAL

2021 ◽  
Vol 2 ◽  
pp. 15-19
Author(s):  
Semushev Ivan N. ◽  

Studies of Mongolian history and culture in the context of the events of the October Socialist Revolution and the subsequent change of the agenda of our state have moved to a new stage of development. Academic and popular science periodicals played an important role in the process of studying and spreading scientific knowledge during that period. The article analyzes the development of Russian Mon-golian studies on the pages of the Soviet journal of literature, science and art “Vos-tok”.

2021 ◽  
Vol 36 (1) ◽  
pp. 77-89
Author(s):  
Tomáš Kačer

The science play is a well-established genre of dramatic writing in the Englishspeaking theatrical tradition. This paper discusses three full-length science plays by the prominent British playwright Tom Stoppard. These are Hapgood, Arcadia, and The Hard Problem. The plays are based on popular science sources and offer their audience an access to science. After providing a brief history of the science play and the science show, the paper shows that Stoppard develops the dramatic and theatrical traditions by involving science on the textual (giving popularised scientific knowledge in the form of dialogised lectures) and performative levels (demonstrating or illustrating science on stage), primarily to turn it into a metaphor of human behaviour. Hapgood and Arcadia further engage with science on the structural level, thus becoming thought experiments reflecting upon science. The most recent play, The Hard Problem, develops textual and performative strategies related to science but ceases to experiment with the form, leaving more space for the audience to draw ethical conclusions.


2016 ◽  
Vol 44 (2) ◽  
pp. 411-421
Author(s):  
Jonathan V. Farina

Inspired in part by the coincident bicentenary of Darwin's birth and the sesquicentennial of The Origin of Species in 2009, scholars have been hard at work these last ten years writing substantial histories of nineteenth-century natural history and geology. These histories include exceptional books by scholars trained primarily in literary studies: Cannon Schmitt's Darwin and the Memory of the Human (2009); Daniel Brown's The Poetry of Victorian Scientists (2013); and Gowan Dawson's Darwin, Literature and Victorian Respectability (2007). With a few notable exceptions, however, the books I was invited to review here are written mostly by historians of science. And yet they are no less literary for that. All are marked by a tacit, pragmatic adoption of actor-network theory; by the extraordinary resources of the Darwin Correspondence Project and online databases of British periodicals; and often, too, by glossy illustrations. Further, nearly all of these histories share a methodological investment in what we call the history of the book, including all the economics of publishing (formats, sizes, fonts, prices, print runs, reviews, sales, generic conventions) and a political and heuristic stake in popularization and the general reading public. While Darwin (and Lyell, Herschel, Hooker, Huxley, and Spencer) remain at the center of the discussion, the empirically-minded history-of-the-book approach and investment in everyday readers reconstructs and legitimates a robust popular science that was engaged with, but not subordinate to, and often more liberal than the elite science of the X Club, the Royal Society, and other exclusive institutions. With the help of museums, lectures, tour guides, and other natural scientific literature, everyday readers produced their own knowledge of evolution, stratigraphy, speciation, animal emotion, and the sex life of plants.


Infolib ◽  
2020 ◽  
Vol 24 (4) ◽  
pp. 2-8
Author(s):  
Umida Teshabaeva ◽  

The article is devoted to the history of the Tashkent Public Library, at the origins of which were prominent scientists of that time, to the present day of the National Library of Uzbekistan. The library fund has more than 7.5 million items in 75 languages of the world. The National Library is the main methodological center of information and library institutions of the Republic. Creation of favorable conditions for readers is one of the priority tasks of the library, which is improved every year by the introduction of new technologies for obtaining information in an operational way. Thanks to membership in the International Consortium «eIFL», users have access to 38 foreign educational databases, 12 of which are licensed. Also, library readers get access to national and world educational collections in different languages of the world.


2021 ◽  
Vol 76 (3) ◽  
pp. 335-336
Author(s):  
Georgy A. Galegov ◽  
Alexander V. Pronin

A review for the book by F.I. Ershova History of Virology from D.I. Ivanovsky to the present day, publishing house GEOTAR-Media, 2020.


2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.


Psihologija ◽  
2005 ◽  
Vol 38 (3) ◽  
pp. 225-237
Author(s):  
Jelena Pesic

This paper deals with various reasons for treating the problematisation of textbook discourse as an important aspect of its educational design. These reasons are derived from: the nature of learning process, the nature of scientific knowledge and both motivational and cognitive saint achieved through a problematisation of learning material. Implications drawn from these considerations, along with textbook genre possibilities and constrains, lead us to define some basic strategies of textbook discourse problematisation. They refer to: way of presenting knowledge (problem structuring of text, presenting the history of knowledge and different perspectives); use of specific questions and tasks; metacognitive support of the learning process and specific type of textbook language (dialogical problem focused, language of thinking).


Author(s):  
Mariya Vladimirovna Kalenichenko

This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.


2020 ◽  
Vol 17 (4) ◽  
pp. 72-88
Author(s):  
Jarosław Dybek ◽  

The topic of the article is one of the German SS regiments stationed in occupied Poland and its role in The German occupation policy. While the history of the SS formation is very well known in both academic and popular science literature, its cavalry has not been elaborated in great detail thus far. Although this topic seems interesting, it has not yet been discussed in any book in the Polish language. Most of the literature related to this topic was published in German and English. The 1st SS Death’s Head Cavalry Regiment operated primarily in the General Government and was under the Higher SS and Police Command. Some of its squadrons also operated in areas annexed to the Reich, i.e. the Warta Voievodship (Reichsgau Wartheland). From this article we will learn about the formation of the SS Death’s Head cavalry and its gradual inclusion in the brutal occupation policy of the Third Reich in Poland. In the case of its formation, we are dealing with tasks such as combating the early partisan units, searching for weapons, participating in the creation of ghettos, or helping to eliminate Polish levels of the intelligentsia. Noteworthy is the participation of this unit in the production of the propaganda film “Kampfgeschwader Lützow”, in which Polish cavalrymen were presented attacking German tanks with sabres. This false image was reproduced after the war in some movies or books, and contributed to the distorted presentation of Polish soldiers in the defensive battles of 1939.


Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.


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