scholarly journals THE PHENOMENON OF LIGHT IN SCENOGRAPHIC SOLUTIONS YEVHENA LYSYKA

2021 ◽  
Vol 3 (1) ◽  
pp. 140-154
Author(s):  
Yatsiv M ◽  
Keyword(s):  
Special Kind ◽  
Subjective Perception ◽  
Theoretical Assumption ◽  
Optical Illusions ◽  
Bright Spots ◽  
Theatrical Performance ◽  
Inner World ◽  
The Spectator ◽  
Unique Style

Scenography is a special kind of fine art and a visual aspect of a theatrical spectacle. Its task is to form the space of the stage with the help of plastic, painting and light-colour effects, which are inextricably linked with each other and theatrical action. In a theatrical performance, it is a way to immerse the spectator in something special - the atmosphere conceived by the director, created by the theatrical artist, director of light and actors. The purpose of the publication is to try to reveal the role of light and colour in the stage decisions of Yevhen Lysyk, to establish how these means formed a unique painting style of the artist, which turned his scenography into an independent component of opera and ballet performances. For the scenography of Y. Lysyk, a characteristic method is the use of optical illusions. He uses architectural and light-coloured optical illusions as a means of enhancing the perception of forms and space of scenography. Such optical illusions include the law of light irradiation, illusions of magnification of vertically arranged elements in comparison with horizontal ones, colour contrasts, subjective perception of colours (chromatic stereoscopy), etc. His stage solutions differ in their colour scheme. In most performances, the artist's scenography dominates the structure of theatrical action. The play of colour contrasts and bright spots on the huge monumental canvases causes the audience a reflexive desire to open their eyes, thereby sharpening the hearing and "turns on" the imagination. The subjective tendency to colour testifies to the inner world of the artist and at the same time to the way of his thinking, the peculiarities of his creative manner. The following research methods were used: visual, comparative, philosophical, artistic, stylistic and iconographic. Analysis of individual stage solutions Y. Lysyk allowed us to draw a theoretical conclusion: light and colour play an important role in shaping the creative concept of an outstanding theatrical artist, and contribute to the formation of his unique style and manner of performing artistic and monumental stage solutions. The theoretical assumption is made that their integral performance, in the context of composition, perspective system, proportions, ways of using light and colour approaches the basic principles of construction in iconographic images of the Christian tradition.

scholarly journals Arte interativa: quem é o autor e onde está o espectador?

2020 ◽  
Author(s):  
António Cardoso
Keyword(s):  
Linear Structure ◽  
Global Dimension ◽  
Point Of View ◽  
Interactive Art ◽  
Traditional Role ◽  
External Observer ◽  
Theatrical Performance ◽  
Symbolic Meanings ◽  
The Spectator

This article examines how the emergence of interactive art brought about the necessity of re-positioning the traditional role of the spectator and led to the re-formulation of the notion of authorship. The non-linear structure of interactive artworks empowers the spectator with the (apparent) control of its narrative and creates a relational space filled with an input-output dynamic. It is suggested that this elevates the spectator to the realm of co-authorship of the work of art that he/she is interacting with, because the specificity of each interaction generates symbolic meanings that the original author cannot anticipate.It is also argued that the input required from the spectator to interact with the artwork could be compared to a theatrical performance. Thus, an analogy between the spectator-in-action of an interactive artwork and the figure of an actor is established. This brings us to the question concluding the article: as the reception of interactive art implies an action from its spectator, the compatibility between action and contemplation is questioned.Finally, the article concludes that the corpus of an interactive artwork has to include the spectator that acts and creates the input needed for the interaction to be established. Therefore, only from the point of view of an external observer one can gain access to its global dimension, that is, as meta-spectators.

scholarly journals STUDY OF I.A. BUNIN'S CREATIVITY AT SCHOOL (NEW READING BASED ON INFORMATION CULTURE)

2021 ◽  
Vol 23 (79(1)) ◽  
pp. 22-26
Author(s):  
M.P. Shustov ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Analysis ◽  
Information Culture ◽  
New Approach ◽  
Folk Tales ◽  
Inner World ◽  
The One ◽  
Unique Style

Тhe article is devoted to the role of information culture in the analysis of I. A. Bunin's artistic creativity. The purpose of the article is to study the role of fairy-tale poetics in the formation of the original style of the writer, the influence of fairy tales on the in-depth disclosure of the inner world of Bunin's hero and the formation of a specific Russian character based on the fairy-tale worldview. Materials and methods: The novelty of the work lies in a new approach to the work of I. A. Bunin. Based on comparative, literary and informational research methods, the author of the article proves the advantage of literary analysis based on information culture. Research results: analyzing the works of I. A. Bunin, the author of the article comes to the conclusion that the success of the writer in creating his original author's style is directly related to the use of normative fairy-tale poetics, which has been formed by folk tales for centuries. Discussion and conclusion: I. A. Bunin, relying on fairy-tale poetics, creates his own unique style. On the one hand, he creates his own literary fairy tales, on the other, using poetic techniques of the fairy-tale genre, turning them into an effective tool.

NATURAL SCIENTISTS AND RUSSIAN SCIENTIFIC FILMMAKING IN THE PRE-REVOLUTIONARY PERIOD (SCIENCE DIVISION OF THE A.A. KHANZHONKOV COMPANY)

2020 ◽  
Vol 42 (3) ◽  
pp. 355-368
Author(s):  
YEVGENIY ALEKSANDROV
Keyword(s):  
Information Transfer ◽  
Delayed Reaction ◽  
Russian Scientific ◽  
Physical Problems ◽  
Education Community ◽  
Future System ◽  
The Future ◽  
The Spectator ◽  
Revolutionary Period

The aim of the article is to recall the fi steps of comprehension by the scientific community of possibilities of a newly born means of the reality reflection. The means was initially oriented for obtaining reliable information and supposing a delayed reaction of the spectator in the process of communication. Recollection and understanding become more important under the distance education condition. Pre-revolutionary Russia lived anticipating changes, and the filmmaking was considered by the society as one of those progressive phenomena evidencing the coming of a new age. The scientists’ activity during the development of scientific fi in pre-revolutionary Russia was long hushed up and wasn’t considered as forming a basis for the future system of educational audio-visual communication. In this process there participated striking, creative personalities, mostly belonged to the community of Imperial Moscow University, which activity was during the age of changes. The significant contribution of pleiad of eminent scientists’ activity to the new direction formation was a reason to unify in one paper both their whole professional life data and information about their time-limited period of scientific fi In the future a more profound study of their achievements are considered to be promising. In the introduction the anterior period of the Russian fi appearance, where the scientific and education community of Russia was exploring the possibilities of a new means of information transfer for education purposes, is considered. Two main units are dedicated to the role of scientists in the development of scientific filmmaking for research and popularization of biomedical and physical problems.

Ч. АЙТМАТОВДУН «ТООЛОР КУЛАГАНДА» РОМАНЫНДАГЫ ПЕЙЗАЖДЫК СҮРӨТТӨӨЛӨР

2020 ◽  
pp. 92-94
Author(s):  
Н. Алтыкеева ◽  
Б. Ниясалиева
Keyword(s):  
Full Moon ◽  
The Novel ◽  
Additional Tool ◽  
The Sublime ◽  
The World ◽  
State Of Mind ◽  
Inner World ◽  
Aesthetic Values

Аннотация. Макалада романдын мазмунунан орун алган пейзаждык сүрөттөөлөр талкууланат. Пейзаждык сүрөттөөлөр чыгарманын көркөмдүүлүгүн, эстетикалык баалуулугун арттыруу менен катар эле каармандардын образын тереңден ачып берүүдө, окуялардын өнүгүп-өсүшү жана алдыда боло турган окуялар тууралуу окурманга маалымат берүүдө кошумча каражат катары колдонулат. Жазуучу романда пейзаждык сүрөттөөлөрдү өтө кылдат колдонгону байкалат. Алсак, тоо адамдагы улуулук жана бийиктикти айгинелейт, толукшуган ай жан- дүйнөнүн бөксөрбөй толуп турушун көрсөтөт, ачык асмандын алай-дүлөй түшкөн көрүнүшкө айланышы - каармандын ички сезими, уйгу-туйгу ойлонуусу, жан дүйнөсүнүн бурганак болушун ачып көрсөтүүдө маанилүү болсо, чабалекейлердин тынымсыз учуп чабалакташы, жан алакетке түшүп чыйпылдашы – алдыда боло турган кырсыктуу окуя тууралуу кабар берсе, согуштун апааты жашыл шибердин, бак-дарактардын күлгө айланышы, чымчык-куштардын күздү күтпөй кайдадыр учуп кетип жатышы менен түшүндүрүлөт. Tүйүндүү сөздөр: пейзаж. роман, идея, легенда, эпилог, каарман, негизги окуялар. Аннотация. В статье дается пейзажное описание. Пейзажное описание используется в произведении как дополнительное средство эстетических ценностей и помогает раскрыть образы героев, и действия произведения. Писатель в романе тонко использует пейзажное описание. Например горы возвышенное и самое ценное в человеке, а полная луна – счастливое душевное состояние человека, а превращение безоблачного неба в бущующий вид – указывает, как неспокойно в душе главного героя, его беспокойные мысли, как бушует его внутренний мир, а ласточки неспокойно летающие, предвещают несчастье, птицы улетающие раньше времени, превращение зелёной травы, деревьев в пепел предвещают ужасы войны. Ключевые слова: пейзаж. роман, идея, легенда, эпилог, герой, главное событие Annotation. The article discusses the landscape description. The landscape description is used in the work as an additional tool for aesthetic values and helps to reveal the images of heroes, and in the development of the action of the work/ The writer in the novel subtly uses the landscape description. The mountains are the sublime and the most valuable in a person, and the full moon is a happy state of mind of a person, and the transformation of a cloudless sky into a raging view indicates how restless the soul of the protagonist is, his restless thoughts. How his inner world is raging, and the swallows are restlessly flying, foreshadow the misfortune, the birds flying away ahead of time, the transformation of green grass, trees in the forehead the horrors of war. This article describes the idea of the story "Do not kill" which is given instead of the epilogue in the novel "When the mountains fall" which was written by Ch.Aitmatov. It considers the role of a story that calls to live in peace and to end wars that are occurring in the world. Keywords: Landscapе, novel, idea, legend, epilogue, hero, main event.

Mystery in the poetics of romantic tragedy genre (“The Spaniards” by Mikhail Lermontov)

2021 ◽  
pp. 67-81
Author(s):  
E. V. Golovenkina ◽  
Keyword(s):  
Everyday Life ◽  
Human Experience ◽  
Mikhail Lermontov ◽  
Inner World ◽  
Loss Of A Child ◽  
Moral Choices ◽  
Ideal Sphere ◽  
The Ideal ◽  
Tragic Conflict

This paper focuses on the role of the poetics of mystery in the formation of the romantic trag-edy genre. “The Spaniards” by Mikhail Lermontov is considered as a characteristic example of this genre, manifesting “melodramatization” of tragedy and tendency towards genre-generic synthesis. The action of “The Spaniards” is based on events related to the sphere of the mysterious, which are exceptional in life and common in melodrama. Central to the plot is the motif of the loss of a child. The secret of Fernando’s birth and “ignobility” form the con-flict and organize two storylines (love and family) and two (everyday life – melodramatic, and existential – tragic) levels of conflict. Mystery also plays an important role in revealing the inner world and expressing the romantic ideal of the hero. The ability to comprehend the mysterious, to pass beyond human experience and logic is not only the motivation of his ac-tions, but it also connects the hero with the ideal sphere. The study examines how the charac-ters’ anticipation of the “terrible” motivates their moral choices. Analyzing the interaction of lyrical motifs, the author suggests the motif of mystery as important for implementing the main (tragic) conflict, unlike melodrama, where the functions of mystery are plot-forming, stimulating the spectator’s interest and maximizing the dramatic tension. Mystery in the plot and the lyrical concept of the tragedy contributes to the understanding of the essence of the romantic conflict, has a suggestive impact on the audience, and deepens the psychologism.

Il bambino abusato diventa adulto: riflessioni su alcune situazioni trattate

2009 ◽  
pp. 161-182
Author(s):  
Stefano Cirillo
Keyword(s):  
Sexual Abuse ◽  
Child Sexual Abuse ◽  
Traumatic Event ◽  
Clinical Population ◽  
Female Victims ◽  
The Spectator ◽  
Clinical Cases

- The author analyses some clinical cases in order to reflect upon the varying consequences of child sexual abuse on the development of abused males. Three distinct cases observed in clinical population are discussed. The typical victim's transformation into offender, the persistent tendency in victims to perpetuate the role of victim and the persistent tendency in the brothers' female victims to perpetuate the role of the spectator. The attachment system (provided both by the protective parent and by the abusing parent) plays a key role in the abused child's development related to the dimension of fear produced by the traumatic event.

The role of media within young people’s socialization: A theoretical approach

2019 ◽  
Vol 44 (4) ◽  
pp. 407-426
Author(s):  
Ingrid Paus-Hasebrink
Keyword(s):  
Everyday Life ◽  
Theoretical Approach ◽  
Panel Study ◽  
Social Contexts ◽  
Integrative Approach ◽  
Subjective Perception ◽  
Developmental Tasks ◽  
Structural Components ◽  
Perception Action

Abstract Researching the role of media within young people’s socialization requires an integrative approach that understands socialization as a contextual, interlinked process in which children construct their approach to life against the background of ‘developmental tasks’ and of the relevant social contexts. This article presents a praxeological approach that combines subjective and structural components of practice and that has been put into practice by means of a qualitative longitudinal-panel study on children’s socialization. The approach is based on three analytical concepts, options for action, outlines for action, and competences for action, and advances an interlinkage of subjective perception, action-driving orientations, and everyday-life practices against the backdrop of (changing) socio-structural conditions.

The Ideology of the Letter of Aristeas

1958 ◽  
Vol 51 (2) ◽  
pp. 59-85 ◽  
Author(s):  
V. Tcherikover
Keyword(s):  
Special Kind ◽  
General View ◽  
Self Defense ◽  
Greek World

Modern scholars commonly regard the “Letter of Aristeas” as a work typical of Jewish apologetics, aiming at self-defense and propaganda, and directed to the Greeks. Here are some instances illustrating this general view. In 1903 Friedländer wrote that the glorification of Judaism in the Letter was no more than self-defense, though “the book does not mention the antagonists of Judaism by name, nor does it admit that its intention is to refute direct attacks.” Stein sees in the Letter “a special kind of defense which practices diplomatic tactics,” and Tramontano also speaks of “an apologetic and propagandist tendency.” Vincent characterizes it as “a small apologetic novel written for the Egyptians” (i.e. the Greeks in Egypt). Pfeiffer says: “This fanciful story of the origin of the Septuagint is merely a pretext for defending Judaism against its heathen denigrators, for extolling its nobility and reasonableness, and for striving to convert Greek speaking Gentiles to it.” Schürer classes the Letter with a special kind of literature, “Jewish propaganda in Pagan disguise,” whose works are “directed to the pagan reader, in order to make propaganda for Judaism among the Gentiles.” Andrews, too, believes that the role of a Greek was assumed by Aristeas in order “to strengthen the force of the argument and commend it to non-Jewish readers.” And even Gutman, who rightly recognizes that the Letter sprang “from an inner need of the educated Jew,” sees in it “a strong means for making Jewish propaganda in the Greek world.”

scholarly journals The role of word frequencies in detecting unfamiliar terms and their effect on response quality

Psihologija ◽  
2015 ◽  
Vol 48 (4) ◽  
pp. 327-344 ◽  
Author(s):  
Ana Slavec ◽  
Vasja Vehovar
Keyword(s):  
Low Frequency ◽  
Drop Out ◽  
The Other ◽  
International Exchange ◽  
Subjective Perception ◽  
Exchange Students ◽  
Text Corpora ◽  
Drop Out Rate ◽  
The University

Research into cognitive aspects of survey response has indicated unfamiliar terms as one of the psycholinguistic determinants of question comprehensibility problems. In this paper the estimates of wording familiarity based on text corpora for the English and Slovenian languages were used to detect potentially incomprehensible wordings in two web survey questionnaires for international exchange students at the University of Ljubljana, one for incoming (English) and the other for outgoing students (Slovenian). Two versions of the questionnaire were developed for each language, one with low-frequency (complex) and the other with high-frequency (improved) wordings, and compared in a split-ballot experiment. The results show a lower drop-out rate and a decreased subjective perception of difficulty for the improved language versions.

scholarly journals THE PROBLEM OF NARRATION IN NOTES FROM A DEAD HOUSE BY FYODOR DOSTOEVSKY

2021 ◽  
Vol 19 (1) ◽  
pp. 221-238
Author(s):  
Tamara Batalova
Keyword(s):  
Sense Of Self ◽  
Self Esteem ◽  
Vital Role ◽  
Point Of View ◽  
Christian Faith ◽  
Fyodor Dostoevsky ◽  
Theatrical Performance ◽  
Essential Idea ◽  
The Dead

Within the framework of Pavel Medvedev’s sociological poetics, the article identifies and studies the features of the narrative in Fyodor Dostoevsky’s Notes from a Dead House, and examines the role of these features in expressing the key idea of this novel, namely the desire of convicts for freedom, for “resurrection from the dead”. From this point of view, the author examines the significance of the narrator’s duality (Goryanchikov and Goryanchikov-Dostoevsky) and the juxtaposition of the characters in the narrative (positive and negative). He also analyzes the compositional function of the XI chapter of the first part of Notes from a Dead House, “Presentation”, in the plot. The Christian faith plays the vital role in the expression of the essential idea of the work. An open-minded attitude to people, a friendly, Christian approach towards them is a distinctive feature of Goryanchikov-Dostoevsky and all the positive characters in the book. Inspired by the celebration of the Nativity of Christ, the convicts staged a theatrical performance, which alters the moral state of both the actors and the audience, fortifies their sense of self-esteem required to resist the prison orders that “deaden” people, and strengthens the prisoners’ desire for freedom, for “resurrection from the dead”. The article concludes that Notes from a Dead House is the beginning of aesthetic and artistic changes that manifested themselves in Dostoevsky’s post-prison works.

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