scholarly journals The artistic embodiment of the image of kazan in the works of modern russian and tatar poets

2020 ◽  
Vol 6 (Extra-B) ◽  
pp. 169-174
Author(s):  
Alfia Foatovna Galimullina ◽  
Artem Eduardovich Skvortsov ◽  
Kadisha Rustembekovna Nurgali ◽  
Marsel Ildarovich Ibragimov

    The article defines the functional role of key images, mythologemes and the means of artistic expression in the work of Russian and Tatar poets, which makes it possible to create an artistic image of. Kazan is also a legendary city with its own heroic past, it is also a cultural center, a university city, Kazan is also a city of meetings, and a city of spiritual communication. Renat Kharis metaphorically called "Kazan is a book" in the poem "Amirkhan Yeniki". This definition of the Tatar poet contains all aspects of the theme of Kazan image artistic embodiment because it fancifully combines images of poets of different times, melodies of composers, historical figures, legendary and mythological images (Shurale, nixie, etc.). The study results reflected in the article open up the prospects for the study of other universals in the poetry of the authors and other modern poets and can also be used for further study of local urban texts of Russian, Tatar and foreign literature.

2020 ◽  
Vol 6 (Extra-B) ◽  
pp. 169-174
Author(s):  
Alfia Foatovna Galimullina ◽  
Artem Eduardovich Skvortsov ◽  
Kadisha Rustembekovna Nurgali ◽  
Marsel Ildarovich Ibragimov

    The article defines the functional role of key images, mythologemes and the means of artistic expression in the work of Russian and Tatar poets, which makes it possible to create an artistic image of. Kazan is also a legendary city with its own heroic past, it is also a cultural center, a university city, Kazan is also a city of meetings, and a city of spiritual communication. Renat Kharis metaphorically called "Kazan is a book" in the poem "Amirkhan Yeniki". This definition of the Tatar poet contains all aspects of the theme of Kazan image artistic embodiment because it fancifully combines images of poets of different times, melodies of composers, historical figures, legendary and mythological images (Shurale, nixie, etc.). The study results reflected in the article open up the prospects for the study of other universals in the poetry of the authors and other modern poets and can also be used for further study of local urban texts of Russian, Tatar and foreign literature.


2021 ◽  
Author(s):  
David Collins

In this thesis I show how Aristotle’s approach to ethics can be applied to aesthetics in order to address normative concerns relating to practices of artistic creation and spectatorship, and how R. G. Collingwood’s philosophy of art provides an understanding of these practices that works as a basis for such an approach. I begin by discussing the connection between aesthetic and ethical normativity as found in the thought of various prominent philosophers, and review the contemporary work done in the name of ‘virtue aesthetics’. I then explicate Aristotle’s ethics, with a particular focus on his definition of virtue and his discussion of practical wisdom, and give an overview of Collingwood’s understanding of art and the role of imagination in artistic expression and understanding, before synthesizing the structure of Aristotle’s ethics with the content of Collingwood’s philosophy of art in order to arrive at an outline of a Collingwoodian virtue aesthetics.


2021 ◽  
Author(s):  
David Collins

In this thesis I show how Aristotle’s approach to ethics can be applied to aesthetics in order to address normative concerns relating to practices of artistic creation and spectatorship, and how R. G. Collingwood’s philosophy of art provides an understanding of these practices that works as a basis for such an approach. I begin by discussing the connection between aesthetic and ethical normativity as found in the thought of various prominent philosophers, and review the contemporary work done in the name of ‘virtue aesthetics’. I then explicate Aristotle’s ethics, with a particular focus on his definition of virtue and his discussion of practical wisdom, and give an overview of Collingwood’s understanding of art and the role of imagination in artistic expression and understanding, before synthesizing the structure of Aristotle’s ethics with the content of Collingwood’s philosophy of art in order to arrive at an outline of a Collingwoodian virtue aesthetics.


Author(s):  
Ludmyla Moroz

The article deals with the artistic phenomenon of role-playing lyrics, outlines the problems of literary critics’ theoretical searches in their studies of the lyrics subject organization specifics. It also analyzes the points related to the formal methods of compositional and speech design in a poetic role-playing text. The article tries to characterize conceptual and meaningful foreshortenings which manifest themselves at the level of expression related to a composition’s ideological concepts as well as to thematic ones. The author investigates the peculiarities of role-playing lyrics artistic development in Ukrainian poetry of the 19th-20th centuries. The article gives a profound analysis to the types of subjective expression of a role hero consciousness concerning his social and political perspective. It is stated that episodic appeals to the image of a role hero in Ukrainian poetic literature already occur in the ancient poetry of the 17th-18th centuries. The gallery of role-playing characters represented by this poetry is also quite diverse. These are commoners and representatives of higher social strata as well as historical figures. The typical role-playing hero of the early Romanticism poetry is in general an artistic image the personal intentions of whom are limited to the role of a warrior-protector, a fellow, a representative of the other world established for this artistic direction. Activation of the socio-political sphere in the role lyrics in the second half of the 19th – early 20th centuries is thematically linked to the identification of three main types of role-playing heroes: 1) the type of socially and politically disadvantaged person symbolically delineated in the image of a prisoner; 2) a fighter who does not want to put up with the ugly oppression of his people and calls on the socio-political community to fight decisively against the enemy; 3) a wide and diverse gallery of satirical images of pseudopatriots. The thematic spectrum of the socio-political role sphere in Ukrainian poetry of the 20th century can be clearly and comprehensively identified by the ideological polarization of public forces related to the revolutionary upheavals, the events of the First and Second World Wars, the liberation struggle of the Ukrainians, and the repressive policies of the Soviet state.


2018 ◽  
Vol 1 ◽  
pp. 1-6
Author(s):  
Joanna Gardener ◽  
William Cartwright ◽  
Lesley Duxbury

This paper reports on the initial findings of an interdisciplinary study exploring perceptions of space and place through alternate ways of mapping. The research project aims to bring depth and meaning to places by utilising a combination of diverse influences and responses, including emotional, sensory, memory and imaginary. It investigates mapping from a designer’s perspective, with further narration from both the cartographic science and fine art perspectives. It examines the role of design and artistic expression in the cartographic process, and its capacity to effect and transform the appearance, reading and meaning of the final cartographic outcome (Robinson 2010). The crossover between the cartographic sciences and the work of artists who explore space and place enables an interrogation of where these fields collide or alternatively merge, in order to challenge the definition of a map. By exploring cartography through the overlapping of the distinct fields of science and art, this study challenges and questions the tipping point of when a map ceases to be a map and becomes art.


2017 ◽  
Vol 225 (3) ◽  
pp. 189-199 ◽  
Author(s):  
Tina B. Lonsdorf ◽  
Jan Richter

Abstract. As the criticism of the definition of the phenotype (i.e., clinical diagnosis) represents the major focus of the Research Domain Criteria (RDoC) initiative, it is somewhat surprising that discussions have not yet focused more on specific conceptual and procedural considerations of the suggested RDoC constructs, sub-constructs, and associated paradigms. We argue that we need more precise thinking as well as a conceptual and methodological discussion of RDoC domains and constructs, their interrelationships as well as their experimental operationalization and nomenclature. The present work is intended to start such a debate using fear conditioning as an example. Thereby, we aim to provide thought-provoking impulses on the role of fear conditioning in the age of RDoC as well as conceptual and methodological considerations and suggestions to guide RDoC-based fear conditioning research in the future.


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