scholarly journals The Female Face of the Big Book (Women – Winners of the National Literary Prize BB)

2021 ◽  
Vol 50 (6) ◽  
pp. 61-70
Author(s):  
Maya Babicheva ◽  
Keyword(s):  
Ecological Niche ◽  
Gender Composition ◽  
Women Authors ◽  
Family Saga ◽  
Award Winning ◽  
Book Award ◽  
Literary Process ◽  
The Creation ◽  
Characteristic Features

The article studies the gender composition of the Big Book award winners. It is shown what place among the awarded authors and laureates is occupied by women authors and their works. All award-winning works created by women are analyzed. The main common characteristic features of these works are revealed: the creation of a fullfledged biography of one person and/or a family saga against the background of a detailed historical picture of the corresponding era. An attempt is made to determine the place (“ecological niche”) occupied by the “serious” prose of women authors in contemporary literary process.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

scholarly journals Big-Men and Small Chiefs: The Creation of Bronze Age Societies

2017 ◽  
Vol 3 (1) ◽  
Author(s):  
Rune Iversen
Keyword(s):  
Bronze Age ◽  
Agricultural Production ◽  
Social Dynamics ◽  
Late Neolithic ◽  
Southern Scandinavia ◽  
The Creation ◽  
Characteristic Features ◽  
Early Late ◽  
The Bronze Age ◽  
Big Men

AbstractThis paper investigates to what extent the significant material changes observable at the end of the Neolithic reflect transformations of the underlying social dynamics. Answering this question will help us to understand the formation of Bronze Age societies. The analysis concerns southern Scandinavia with a certain focus on Denmark. The assumption is that the creation of Bronze Age societies must be understood as a long formative process that partly originated in the culturally-heterogeneous Middle Neolithic. Four aspects seem to have been essential to this process: the rise of the warrior figure, the reintroduction of metal, increased agricultural production, and the establishment of one of the characteristic features of the Bronze Age, the chieftain hall. These aspects do not appear simultaneously but are introduced stepby- step starting out in the late Middle Neolithic and early Late Neolithic to fully develop around 2000 BC. Consequently, this paper argues that the final Late Neolithic (LN II, c. 1950-1700 BC) was de facto part of the Earliest Bronze Age.

scholarly journals The Good, the Bad and the Ugly? The Dynamic Interplay Between Educational Practice, Policy and Research

2014 ◽  
Vol 11 (2) ◽  
Author(s):  
Paul Van Geert ◽  
Henderien Steenbeek
Keyword(s):  
Complex System ◽  
Educational Practice ◽  
The Other ◽  
Self Organization ◽  
Other Hand ◽  
The Creation ◽  
Characteristic Features ◽  
The One ◽  
Dynamic Interplay ◽  
Interacting Components

The notion of complexity — as in “education is a complex system” — has two different meanings. On the one hand, there is the epistemic connotation, with “Complex” meaning “difficult to understand, hard to control”. On the other hand, complex has a technical meaning, referring to systems composed of many interacting components, the interactions of which lead to self organization and emergence. For agents, participating in a complex system such as education, it is important that they can reduce the epistemic complexity of the system, in order to allow them to understand the system, to accomplish their goals and to evaluate the results of their activities. We argue that understanding, accomplishing and evaluation requires the creation of simplex systems, which are praxis-based forms of representing complexity. Agents participating in the complex system may have different kinds of simplex systems governing their understanding and praxis. In this article, we focus on three communities of agents in education — educators, researchers and policymakers — and discuss characteristic features of their simplex systems. In particular, we focus on the simplex system of educational researchers, and we discuss interactions — including conflicts or incompatibilities — between their simplex systems and those of educators and policymakers. By making some of the underlying features of the educational researchers’ simplex systems more explicit – including the underlying notion of causality and the use of variability as a source of knowledge — we hope to contribute to clarifying some of the hidden conflicts between simplex systems of the communities participating in the complex system of education.

A publication that can hardly be overestimated

2021 ◽  
Vol 21 (2) ◽  
pp. 94-100
Author(s):  
Kh.I. Bakov ◽  
Keyword(s):  
Practical Significance ◽  
Literary Process ◽  
History Of ◽  
The Creation

The article analyzes the three-volume edition «History of kabardino-circassian literature», prepared by a team of literary scholars of the Kabardino-Balkarian Institute for Humanitarian Research, the last volume of which was published recently. The difficult and long-term path of the creation of this scientific ore is traced, the changes that have taken place in the work project are indicated, their objective and subjective reasons are clarified. Initially, it was planned to study only the Kabardian literary process, but in the course of it, the authors added the work of Circassian writers, and then the literature created by the Adygs in the foreign diasporas, which increased the significance of the work. It is indicated that in the «History of kabardino-circassian literature» not all bright creative individuals have separate chapters. It is proposed, in addition to this edition, to write a monograph, where separately consider the work of B. Utizhev, Kh. Beshtokov, K. Duguzhev and poets and writers who have revealed their potential in recent years (there is such a plan in the sector of «Kabardino-Circassian literature» KBIGR. In conclusion the article emphasizes the theoretical and practical significance of the topical work of leading Adygean literary critics.

scholarly journals Existent essence of experimental modern Ukrainian prose: «DNK» (Serhiy Zhadan, Yuriy Vynnychuk, Irena Karрa, Fozzi, Andriy Kokotyukha, Volodymyr Rafaenko and Max Kidruk)

2021 ◽  
pp. 142-153
Author(s):  
Tetiana Chonka
Keyword(s):  
Short Stories ◽  
Scientific Investigation ◽  
Family Saga ◽  
Starting Point ◽  
Experimental Project ◽  
The Subject ◽  
Characteristic Features

One of the characteristic features of modern Ukrainian literature is its innovative exploration at all levels such as genre-thematic, linguistic-stylistic, etc. The subject of this scientific investigation is an experimental project (family saga, novel in short stories) «DNК», the authors of which are seven original but different authors – Sergei Zhadan, Yuri Vynnychuk, Irena Karpa, Fozzy, Andrei Kokotyukha, Vladimir Rafaenko and Max Kidruk. The object of our study is the genre-style and ideological-thematic characteristics of each novel and their ideological and semantic integrity. Given the idiosyncrasy of each of the authors, we made a figurative analysis of the characters which includes their worldview, behavior, dreams and language. In the course of the research we can state that the chronotope of events, language, stylistic and genre peculiarities are all aimed at comprehensive disclosure of the life of Ukraine and Ukrainians at the peaks of history. It is the anthropological principle of analysis of these works that should be the starting point today and now, when not only our country, but humanity in general is in a situation of humanitarian catastrophe. The problem of all times and peoples is the unwillingness to listen to the artistic word, to the efforts of artists (intuitive, subconscious, and sometimes specifically oriented) to force their contemporaries to think about specific values and priorities, personal and national, taking into account the experience of past generations. We are convinced that the emergence of «DNК» is due to such a specific existential need, that is, the need for ueverybody to rethink the lessons of history with the necessary conclusions.

scholarly journals FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI

2020 ◽  
Vol 14 (1) ◽  
pp. 82-87
Author(s):  
Alevtina Vasilevna Kamitova
Keyword(s):  
Folk Songs ◽  
National Literature ◽  
Common Phenomenon ◽  
Positive Role ◽  
Poetic Tradition ◽  
Creative Practice ◽  
The Creation ◽  
Characteristic Features ◽  
Creative Self ◽  
Song Texts

This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.

scholarly journals IN GONZO STYLE: TETIANA TROFYMENKO’S LITERARY REVIEWS

2020 ◽  
Vol 9.1 (85.1) ◽  
Author(s):  
Oksana Zelik ◽  
Keyword(s):  
Literary Criticism ◽  
Special Kind ◽  
Literary Work ◽  
Point Of View ◽  
Emotional Expressions ◽  
Analytical Work ◽  
Literary Process ◽  
Characteristic Features ◽  
Gonzo Journalism ◽  
Subjective View

The proposed research is an attempt to analyze gonzo-criticism in the context of the modern Ukrainian literary process. The change of aesthetic orientations in the Ukrainian literary process had significant impact on the role and status of literary criticism. The analysis of gonzo-criticism is based on the example of texts of Tetiana Trofymenko, literary critic, cultural manager, lecturer, participant of various literary and artistic events. She taught at the universities of Kharkiv and Lviv, worked at the Kharkiv Literary Museum. The reviewer cooperated at various times with the magazine “SHO”, the sites “Novynarnia”, “MediaPort”, “ZAXID.NET”, “LitAktsent” etc. The article summarizes the views on gonzo journalism and approaches to its characteristics. The analysis of Tetiana Trofymenko’s reviews is conducted on the stylistic and genre levels taking into account the problem-thematic contexts, features of the presentation of works of art and compositional peculiarities. Gonzo is a special kind of criticism with the dominant subjective view on literature. Its main criteria are impressions and emotions of the critic, this style does not have clearly regulated rules but mainly depends on the author’s personality, his perception and understanding of the artistic work, the vision of text in the context of literary process, the author’s creativity, the ability to present his position vividly and convincingly. The critic conducts a dialogue with the reader, exchanges opinions, reflections and estimations with him. The characteristic features of review are personalized point of view, personal beginning, factuality, reasoned position of the author. The narrative in review is polythematic, because it aims to highlight a variety of facts, usually united by the author’s opinion. The author of the artistic review demonstrates to the reader an analytical work aimed at cognition, understanding, interpretation and evaluation of a literary work. The stylistic features of gonzo-criticism are analyzed in details. The attention is focused on the peculiarities of the presentation of fiction texts through the ironic, subjective view of the critic. The researcher found out that this style of literary criticism manifests in emotional expressions, the use of irony, sarcasm, and the critic offers an unexpected look at the literary work, shocks and provokes the audience.

scholarly journals Linguistic problems of identification of euphemisms as a language phenomenon

2019 ◽  
Vol 12 (21) ◽  
pp. 99-104
Author(s):  
Svitlana Baranova ◽  
◽  
Kristina Pletenko ◽  
Keyword(s):  
Structural Element ◽  
The Social ◽  
Development Processes ◽  
The Creation ◽  
Characteristic Features ◽  
Socially Motivated ◽  
Language Universal ◽  
The Impact ◽  
Linguistic Universal ◽  
Linguistic Phenomenon

In the article, the definition and classification tendencies of the «euphemism» concept are taken into consideration. In the study of any linguistic concept, the creation of a theoretical and methodological basis is of fundamental importance. This basis can be used for a deeper analysis of the phenomenon itself, as well as for the comparative analysis of the notion with regard to other linguistic elements. However, if it is a challenge just to define the phenomenon, then further studies – at horizontal and vertical levels, synchronously or diachronically – will cause significant difficulties. The main problem of euphemism definition lies in the fact that this phenomenon is a multi-functional and multi-structural element. It can be represented in different forms, for instance, words or word-combinations. A single euphemistic construction can be considered as a part of another group of the language vocabulary. In the article, the main highlight is devoted to the English euphemistic constructions, but the author also mentions the connection of euphemism realization in different languages. This feature allows considering euphemism a language universal. Since the article substantiates the euphemisms’ being a linguistic universal, the author also mentions about the connection between the euphemistic vocabulary and other language layers. The article highlights the impact of such a connection on the problem of defining the term «euphemism». The article is focused on structuring the phenomenon and determining the main functions of the euphemisms’ use. Among the characteristic features of euphemisms, there is the replacement of direct nomination as a result of a historically and socially motivated ban on its use, as well as the presence of authorial self-censorship, if the use of a direct name contradicts the pragmatic intentions of the addressee. The use of euphemisms allows a speaker (a so-called owner of the message) to avoid focusing on the negative sides of the information, to change the communicative situation and make it advantageous and beneficial for the addressee, to manipulate and to form the response of the massage’s recipients. The author identifies the reasons that hinder the creation of a unified classification base and generally unified concept of «euphemism». Moreover, the author states that euphemisms as a linguistic universal are an integral part of a language system (English as well). Their peculiarities are manifested in the daily language, both its written and spoken forms, that is, this linguistic phenomenon is a clear example of the two-way interaction of the social development processes and the people’s worldview principles.

scholarly journals Conceptual basis of the art of “Theatre of Shock”

2021 ◽  
pp. 131-135
Author(s):  
V. Patsunov
Keyword(s):  
Art Criticism ◽  
Educational Process ◽  
Practical Significance ◽  
Scientific Development ◽  
Energy Field ◽  
Theatrical Performances ◽  
The Creation ◽  
Characteristic Features ◽  
The Spectator ◽  
Emotional Level

The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bring the audience to a state of shock. The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission. The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation. The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.

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