scholarly journals Pasja i antyk. Wawrzyńca Korwina (1465–1527) rozważania wielkanocne

2021 ◽  
pp. 155-171
Author(s):  
Robert K. Zawadzki
Keyword(s):  
Artistic Skill

The article is an attempt of interpretation of seven poems written by Wawrzyniec Korwin which were inserted in St. Bonaventura`s homilies and constitute forms of prayers to be said daily by Christians. The author analyses the artistic skill of the language used by the poet. His poems keep fascinating their readers because of their language, i.e. style as a system of remarkable pattern of linguistic elements and ancient metre.

scholarly journals THE SKILL OF ILYAS ZHANSUGUROV

2020 ◽  
pp. 223-231
Author(s):  
Kuandyk Pazylovich Zhussip ◽  
Nartay Kuandykovich Zhussupov ◽  
Mukhabbat Nurzhauovna Baratova
Keyword(s):  
Leading Role ◽  
Artistic Skill

This article details the skill of Ilyas Zhansugurov. Speaking about the artistic skill of Ilyas Zhansugurov, it can be noted that the leading role in his works is occupied by various unexpected difficulties and trials for the hero, but at the same time, his heroes always, overcoming all obstacles, appear in the image of the winner. In the first lines of the poem «The Himalayas» by I. Zhansugurov, the prevalence of sad sorrow and omission is traced. The poet, if considered in general, has poems that are inherent in romanticism. The article also reflects the fact that Ilyas Zhansugurov differs from other poets in the use of the following techniques: conditional image, offering etc.

scholarly journals Features of communication between the stage director and members of the group during the preparation of choreographic performances

2021 ◽  
Vol 5 (S2) ◽  
pp. 697-707
Author(s):  
Vasyl M. Andriitso ◽  
Myroslava I. Tsyhanyk ◽  
Iryna M. Shevtsova ◽  
Mykhailo A. Shiutiv ◽  
Oleksandr P. Kutsyk
Keyword(s):  
Stage Management ◽  
Common System ◽  
Artistic Skill ◽  
Different Parts

Communication is the cornerstone of co-production, and the director is the cornerstone that brings together the different parts of communication. Basically, communication is "the process of exchanging information between people through a common system of symbols, signs or behaviour". A director does everything in a form of communication during a production. Whether it's blocking, scheduling rehearsals or calling a show; communication is as "vital to stage management as memorisation is to artistic skill". Communication allows the production director to effectively manage the production. Since communication is a broad topic, this study will first consider the two forms of communication that the production director uses, how these skills can be applied to very specific communication aspects and what these benefits look like. This study examines the works on the development of choreographic art, the development of personality within a dance group, and the features of interaction between members of a large artistic group while working on a production. As a result, the most effective methods of communication between the participants of the choreographic performance were discussed.

scholarly journals IDEAS-THEMATIC DIVERSITY LEZGIN PEOPLE RIDDLES

2020 ◽  
Vol 30 (2) ◽  
pp. 358-365
Author(s):  
A.R. Gasharova
Keyword(s):  
Everyday Life ◽  
Comparative Methods ◽  
Holistic View ◽  
The Past ◽  
The People ◽  
Holistic Understanding ◽  
Working People ◽  
The Creation ◽  
Historical Comparative ◽  
Artistic Skill

The Lezgi folk mystery is one of the interesting genres of Lezgi folklore, created by the working masses for many centuries. Studying them has scientific and practical pedagogical significance. There are no special works devoted to Lezgian folk puzzles. This explains the relevance of our appeal to this genre of folklore. The object of our study is the genre diversity of Lezgian folk puzzles. The main objectives of the work are: conducting a comprehensive, diverse study of the Lezgian folk puzzles and obtaining a holistic view of them. To achieve this goal, we set and solve a number of interrelated tasks, the priority of which are: a) through the prism of folk riddles to consider individual aspects of everyday life, to show how it reflected the worldview of the simple working people in the past; b) to characterize the features and to reveal the artistic skill of the people in the creation of verbal works; c) identify the origins and basic artistic principles of Lezgi folk riddles, etc. The need for a holistic understanding of the actual, theoretical and pedagogical heritage of the Lezgian folk mystery led to historical-comparative and comparative methods of its study.

IMAGE SPIRITUALITY AND COLOR TRUTH IN HISTORICAL WORKS

2021 ◽  
Vol 1 (2) ◽  
pp. 124-130
Author(s):  
Syrdaryokhon Utanova ◽  
Keyword(s):  
Point Of View ◽  
Literary Influence ◽  
Historical Reality ◽  
Color System ◽  
Image Appearance ◽  
First Time ◽  
Modified Forms ◽  
Artistic Skill ◽  
Color Symbol

The article is devoted to the study of the mastery of Alisher Navoi's innovative creativity in the use of color in historical works. A number of examples were given of the fact that color is an important tool in illuminating historical reality. In particular, the problem of color compatibility is being addressed for the first time from a historical and artistic point of view. For example, in the work "Tarixi anbiyo va hukamo", modified forms of the words white, green, black, red, yellow, blue are used, which mean color, as well as their meanings from other languages. It is found that only the first three of these words are found, which express color in "Tarihi muluki Ajam". It has been proven that some colors in the color system equate to a word that is an expression of evil, oppression, anger, evil or good and beauty without further explanation or explanation. It is also shown that all the works of the poet represent a single literary canvas, each of which has a comple-mentary, enriching and developing character.Key words: color, symbol, harmony, history, tradition, innovation, literary influence, artistic skill, image, appearance, language features, white, black, red, yellow, green

Human-engineered auricular reconstruction (hEAR) by 3D-printed molding with human-derived auricular and costal chondrocytes and adipose-derived mesenchymal stem cells

2021 ◽  
Author(s):  
Shira Landau ◽  
Ariel A. Szklanny ◽  
Majd Machour ◽  
Ben Kaplan ◽  
Yulia Shandalov ◽  
...  
Keyword(s):  
Costal Cartilage ◽  
Donor Site ◽  
Autologous Reconstruction ◽  
Clinical Grade ◽  
Donor Site Pain ◽  
Custom Made ◽  
3D Printed ◽  
Artistic Skill ◽  
Site Pain

Abstract Microtia is a small, malformed external ear, which occurs at an incidence of 1-10 per 10,000 births. Autologous reconstruction using costal cartilage is the most widely accepted surgical microtia repair technique. Yet, the method involves donor-site pain and discomfort and relies on the artistic skill of the surgeon to create an aesthetic ear. This study employed novel tissue engineering techniques to overcome these limitations, by developing a clinical-grade, 3D-printed biodegradable auricle scaffold that formed stable, custom-made, neocartilage implants. The unique scaffold design combined strategically reinforced areas to maintain the complex topography of the outer ear and micropores to allow cell adhesion for the effective production of stable cartilage. The auricle construct was CT scan-based composed of a 3D-printed clinical-grade polycaprolactone (PCL) scaffold loaded with patient‐derived chondrocytes produced from either auricular cartilage or costal cartilage biopsies combined with adipose-derived MSCs. Cartilage formation was measured within the construct in vitro, and cartilage maturation and stabilization were observed 12 weeks after its subcutaneous implantation into a murine model. The proposed technology is simple and effective and is

VISUALIZATION OF SOVIET CHILDHOOD IN DRAWINGS BY EUGENIYA DVOSKINA

2020 ◽  
pp. 96-115
Author(s):  
Zhanna V. Umanskaya ◽  
Keyword(s):  
Everyday Life ◽  
Collective Memory ◽  
Behavioral Characteristics ◽  
Visual Sociology ◽  
Public And Private ◽  
The Past ◽  
The Everyday ◽  
Soviet Ideology ◽  
Almost All ◽  
Artistic Skill

The author explores ways to visualize the everyday life of the Brezhnev period’s soviet childhood in a Eugeniya Dvoskina’s drawings cycle «#forthosewhoremember». Comparing the artist’s work with other modern visual nostalgic projects, the significance of the selected source is justified: this cycle allows us to give an idea of the visual environment of the child, typical kinds of the children’s territory, public and private areas in the collective memory of the generation. Based on the methodology of visual sociology (P. Shtompka, O.V. Gavrishina), the author analyzes the reasons for the cycle’s perception of the older generation as uniquely “Soviet” and raises the question about markers of “Soviet childhood”. The universality and heritability of many children’s practices makes them timeless, so the design of the material world and symbols of Soviet ideology are main signs of the historical era. Compositional and graphic solutions of images play an important role for the viewer’s perception. Knowledge of nature and artistic skill allows the artist to create heroes with accurate behavioral characteristics and evokes, in addition to visual, almost all types of sensory memory (tactile, motor, audio). The use of accompaniment text, often in the form of speech formulas, is crucial for this effect. If we consider this cycle in the logic of S.”Boym’s reasoning about nostalgia, drawings about soviet childhood can be attributed to the procedural type of nostalgia, which is characterized by irony and contradictory attitude to the past. Eugeniya Dvoskina’s work provides a complex multi-faceted visualization of the everyday life of Soviet childhood in the 60–80s of the XX century.

scholarly journals Oliver Meredith Boone Bulman, 20 May 1902 - 18 February 1974

1975 ◽  
Vol 21 ◽  
pp. 175-195 ◽  
Keyword(s):  
Royal Academy ◽  
The Times ◽  
Victoria And Albert Museum ◽  
Artistic Skill ◽  
At Home

Oliver Meredith Boone Bulman, who died on 18 February 1974 at his home in Cambridge, was born on 20 May 1902 at Wandsworth, the second of three children of Henry Herbert Bulman, R.B.A. (1871-1928), and his wife, Beatrice Elizabeth Boone (1870-1950). The Bulmans were a Cumberland family and the Boones had come from Staffordshire to Kent. Henry Bulman was born at Carlisle and took his art training in Antwerp and London. Against a trend of the times, he developed a strongly naturalistic style in working, particularly in watercolour but also in oils, tempera, crayon or pencil. He specially enjoyed painting people in their home surroundings. Portraits by him were exhibited at the Royal Academy and landscape paintings, flower studies and other of his works are to be seen at the Victoria and Albert Museum or in various galleries at home or overseas. There was also artistic skill in Oliver’s mother’s family for her father, W. A. Boone, A.R.C.A., was an art master at King’s School, Canterbury; but of the three Bulman children, it was Oliver who inherited the outstanding graphic ability that he was to use so effectively in making the hundreds of drawings and diagrams that illustrate his papers, books and lectures; some people even collected his ‘doodles’ after committee meetings.

scholarly journals Theseus and Skiron

1888 ◽  
Vol 9 ◽  
pp. 272-281
Author(s):  
Talfourd Ely
Keyword(s):  
Half Century ◽  
Works Of Art ◽  
National Hero ◽  
Religious Importance ◽  
Artistic Skill ◽  
Fruitful Field

Panofka has remarked that till 1833 only three works of art were known representing Theseus in the act of hurling Skiron into the sea, and that one of the three was known to us only through the description by Pausanias.The active wielding of spade and shovel during the last half century has done much for the elucidation of many an ancient myth; yet, with a few exceptions (as the Euphronios cup from Caere), the monuments have told us little of Skiron.For this dearth two causes have been suggested: the absence of a universal religious importance in the case of such local legend; and, secondly, the unsuitability of the theme for display of artistic power. The death of Skiron, unlike that of the Minotaur, is the close of a drama simple and isolated in plot and action, whereas the fate of the Cretan monster is closely bound up with the fortunes of a heroine, and leads on to her union with an Olympian god. The myths that gathered round the house of Minos were a fruitful field for the artist as well as for the poet.Again, the adventures of Theseus with the Amazons were shared with the national hero of Hellas. They brought upon the scene a host of combatants whose graceful forms lent themselves to the display of artistic skill, while their foreign dress and equipments admitted of the greatest variety of treatment. The myth of the Centaurs presents a struggle in which savage power combines with heroic types of beauty to produce a vivid and brilliant picture.

Drawing assessment and artistic skill

1991 ◽  
Vol 18 (4) ◽  
pp. 347-352 ◽  
Author(s):  
Frances Fisher Kaplan
Keyword(s):  
Artistic Skill

Editorial introduction to Greenwood/West dialogue

2000 ◽  
Vol 6 (6) ◽  
pp. 704-704
Author(s):  
JASON BRANDT
Keyword(s):  
Anorexia Nervosa ◽  
Prefrontal Cortex ◽  
Pathological Gambling ◽  
Frontal Cortex ◽  
Frontal Lobe ◽  
Editorial Introduction ◽  
Frontal Lobe Dysfunction ◽  
The Brain ◽  
Artistic Skill

Although a U.S. Presidential Proclamation designated the 1990s “The Decade of the Brain,” not all cerebral constituents shared equally in the limelight. By anyone's accounting, the prefrontal cortex was the darling of clinicians and neuroscientists throughout the '90s, with everything from schizophrenia and anorexia nervosa to pathological gambling and the emergence of artistic skill attributed to “frontal lobe dysfunction” (David, 1992; Miller et al., 1998; Rugle & Melamed, 1993). It should come as no surprise, then, that that most universal of cognitive afflictions, aging, should be linked to changes in frontal cortex.

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