scholarly journals Artistic image of a woman in the culture of Azerbaijan

Author(s):  
Nurlana Imayat Gyzy Kerimli

The subject of this research is the image of the Azerbaijani woman. The centuries-long history has explored the female images in artistic culture, where female characters are in the limelight. Since the ancient times, Azerbaijani women have been actively engaged in social governance, culture, science, and art; felt the beauty of nature raising it to the level of the phenomenon of cultural life. The article also describes the current state, obstacles, problems, and opportunities of Azerbaijani women in folk art. The Turkic women do not blindly follow the principles of the Sharia, but rather guided by the moral principles of Islam, which broadens their cultural mindset. It is concluded that the female image in evolution of the artistic culture of Azerbaijan plays a crucial role in upbringing and spiritual enrichment of the world. The history of the Turkic culture has created the female images that refute the idea that women's creativity is the second grade art. In folklore, which is the product of artistic thinking and mythological consciousness of the Turkic people, women are depicted with the greatest regard. Female image is illustrated in various forms of art. One of the core indicators of the improvement of spirituality and artistic-aesthetic worldview of the Turkic people is the examples of anthropomorphic plastic art depicting female image in the ancient national artistic thought.

2021 ◽  
Vol 12 (1) ◽  
pp. 6-32
Author(s):  
Emil Vlajki

The history of humanity is a history of rationality. As a result, mankind has progressed from the Stone Age to the era of modern medicine, genetics, computer science, robotics, and nanotechnology. The life span of a man in ancient times was about twenty years, and today, in highly developed societies, a man lives, on average, to eighty-six years. Advances in science and technology have not always had a positive impact. Suffice to say, the ongoing environmental problems that seriously affect humanity or, for example, the dietary problems that have resulted due to genetic manipulation. Scientific and technological development must be considered in a serious and philosophical manner. Ethics are increasingly becoming an integral part of life. In this paper, we focused on the new coronavirus that has led to the planetary-wide disease called COVID-19. All countries have engaged in their efforts to suppress the resulting pandemic. However, some of the utilized measures have been suspect: whether to lock-down people in quarantine, whether their movement should be restricted, whether they should be forced to vaccinate, and so on. Claiming to act prophylactically, scientists, by adding some DNA, RNA segments (gain of function, GOF) to an innocuous human virus, have created a dangerous artificial influenza virus. Likewise, an artificial, infectious coronavirus was created in a laboratory. Both procedures for creating these dangerous, hybrid viruses have been described in eminent scientific journals. The scientists involved in this research told us that they wanted to find cures and vaccines for these non-natural viruses on the off-chance they ever appeared among humans; when carefully handled, engineered organisms provide a unique opportunity to study biological systems in a controlled fashion. Biotechnology is a powerful tool to advance medical research and should not be abandoned because of irrational fears. But the chance of this type of virus appearing among humans is almost non-existent. However, what if these viruses "escape" from the lab, as has happened in the recent past? What if a terrorist organization start producing these viruses on their own according to detailed instructions and then use them? Finally, since the two great world powers, the US and China, that jointly created the artificial coronavirus, called SHC014-MA15, who can stop them from continuing this practice? Isn't it possible that they also created the current SARS-CoV-2 provoking a death of two and a half million people? Related to these questions, this study deals with the issue of tolerance. A large number of world-renowned scientists really believe that the current cause of the pandemic, SARS-CoV-2, is an artificial, laboratory-created virus, presenting a number of facts for this. It is not disputed that their claims are arguable. This, however, does not mean that their opponents, pharmaceutical companies and some superpowers, who have far greater political and economic power, have to incorrectly and utterly embarrass them all over, morally discredit them, nor ban their texts on the subject. In science, the struggle must be waged by arguments, not by totalitarian Orwellian methods.


2020 ◽  
Vol 12 (3-2) ◽  
pp. 337-351
Author(s):  
Sergey Pilyak ◽  

Interpretation of cultural values and cultural heritage is one of the most common types of their development and creative understanding. However, the concept of ‘interpretation’ remains blurred among related processes, usually without getting much mention. In the field of cultural heritage preservation, interpretation is the main method of human development of cultural heritage objects. The process and results of interpretation, as shown by the long history of preservation of cultural heritage, also affect the preservation of cultural heritage. The proposed material is devoted to the consideration of a museum as an example of one of the most consistent built spaces and tools for the interpretation of cultural heritage. The subject of the research is the methods of museum work considered in the context of mechanisms of interpretation of material cultural heritage. Museum as an instrument of interpretation has been known since ancient times. Human interest in ancient artifacts that act as visible symbols of historical and cultural memory of the past, eventually led to the development of collecting, and then, with the publication of collections, to the emergence of museums. Museum and its activities occupy a special place in the methodology of interpretation. The museum space can set its own special rhythm of historical time and create conditions for comfortable perception of the presented artifacts. No other cultural institution has such a task, and if it is necessary to present an artifact, interested persons in one way or another turn to the method tested on museum sites. As a result of the research, the author identified five stages of museum activities, which are generally typical for the mechanism of interpretation of cultural heritage. Therefore, the main goal of museum activities should be recognized as an interpretation of cultural heritage. In accordance with this goal, the museum's tasks are also implemented, including the preservation, publication and promotion of the collection's artifacts. Thus, the role and place of the museum as a specific space created for the purpose of interpreting cultural heritage is proved. These provisions allow us to look at the theory and practice of museum activities in a different way, in the context of interpreting cultural identity.


Author(s):  
Vladislava Igorevna Makeeva

This article describes the Ancient Greek mythological characters who were attributed with murdering children: Lamia (Λάμια), Mormo (μορμώ) and Gello (γελλώ).The ssuperstitions associated with these demons remain in Greece to this day, although their images have undergone certain transformation. The object of this research is the mythological representations of the Ancient Greeks, while the subject is demons who murdered children. The goal of this article is to determine the role of children's horror stories in life of the Ancient Greek society. The author reviews the facts testifying to the existence of characters as Lamia, Mormo, Gello and Empusa in the Greek and Roman texts, as well gives characteristics to their images based on the comparative analysis. The conducted analysis reveals the common traits of the demons who murdered children: frightening appearance, combination of human and animal traits, ability to transform, identification with Hecate, as well as the story of the failed motherhood underlying the history of emergence of the demon. The key functions of these mythological characters consisted in explanation of the sudden infant and maternal mortality typical to the ancient times, as well as teaching children and adults a lesson. The first could be frightened with such stories, and the latter had to learn from the tale that demonstrates the harm of reckless following the temptations or refusal of fulfilling the prescribed social roles, socially acceptable behavior.


Author(s):  
Denis Nikolaevich Demenev

The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.


2020 ◽  
Vol 2020 (2) ◽  
pp. 112-121
Author(s):  
Nadezhda S. Stepanova

«Happiness» is one of the most significant cultural universals, semantically related to the concepts of the spiritual life of a man, the most important element performing meaning-forming and plot-forming role in an artistic work. The study of the reflection of notions about happiness in the autobiographical prose of V. Nabokov in the context of the literary and cultural situation of the first wave of Russian emigration is defined by the specifics of autobiography as a text that is created at the end of life and involves its recognition from the point of view of a person summing up intermediate or final results. The article analyzes the artistic concept «happiness» in the autobiographical prose of V. Nabokov; it determines its individual author’s content that is correlated with the general cultural content of the concept. The article is devoted to the study of the concept «happiness» as a complex emotional and value formation which reflects the universal artistic experience, recorded in the cultural memory, expresses the individual author’s understanding of the essence of objects and phenomena. The conceptual component of the word «happiness» in the creativity of V. Nabokov includes the harmonious fullness of life, freedom, the gift of creativity, the happiness of childhood, family, the hearth, the happiness of love and marriage, the enjoyment of life and its joys, a reflection of the personal history of upbringing and testing. The concept «happiness» implements not only semantic, but also axiological possibilities, reflecting both the own characteristics of the subject of the artistic image and the features of idiostyle of the writer.


2021 ◽  
Vol 2 (6) ◽  
pp. 290-299
Author(s):  
Venera R. Amineva ◽  

The characteristics of a new type of literary discourse having a feature of transculturality is given on the material of a poem “Prayer for the Cup” (1989–1991) a significant work by R. Bukharaev. A global, multicultural and international world is reconstructed in the poem, the existence of which is determined by the idea of transitivity — simultaneity and continuous flow, transitions from one into another: epochs, events, topos, languages. The hero of this world — is a lonely stranger, walking along the road of life, linearly opening the autonomous world of his “I”. the history of his spiritual travel correlates with the way of Christ full of suffering. The poem is full of historical and literary allusions and reminiscences from the world literary works, performing an identifying function. It is stated that identification performed by different elements of a literary text is carried out both “on the borders”, “in the interval” between different traditions, as well as “within the limits”, “inside” a homogeneous culture. Therefore, it is multiple, and meanwhile fundamentally incomplete, “split”, “fluid”, “intermediate”, “flickering”, probabilistically multiple, constantly questioning its status and revealing the growing plasticity of the subject, who is in the process of constantly recreating its own “I”. A new form of worldview, the product of which is a phenomenon of transcultural literature, is formed by synthesizing tendency. It functions within the artistic world of the poem and overcomes the boundaries between different types of culture and traditions, demonstrating the way new meanings overcome it, tolerant in their content and functions, can be appear from confrontation. An ability of an artistic image to endless mutual overflowing and transformations of meaning is a new quality of poetic language corresponding to the peculiarities of the transcultural type of artistic consciousness.


2021 ◽  
Vol 4 (2) ◽  
pp. 10-19
Author(s):  
Albina Fedorovna Myshkina ◽  
Inessa Vladimirovna Iadranskaia

In human culture, since ancient times, fiction has developed as a mirror of time. Therefore, a dual understanding of time is reflected in the poetics of the work: firstly, it is the time that is connected with the narrative and is developed in the plot of the work (artistic time), and secondly, it is the time, the epoch of writing the work itself (historical time). The artistic image of the time is reflected not only in historical genres, but also in all other genres and styles of literature. The historical era of writing a work can be captured in the thoughts and worldview of the characters, in the conflict being developed, the subject matter and the problems involved. The relevance of the study is related to the fact that the tragic periods of history depicted in the work must be analyzed through the worldview and moral standarts of the people. In this regard, the purpose of this article is to identify the philosophical and aesthetic connection between the artistic time continuum and the historical epoch. The subject of the research in this article is the novelette of the literary scholar and prose writer Georgy Fedorov “Ai, mantaran hir mulkaci” ("Oh, poor hare »). In the course of the study, the following results were obtained: in an artistic and philosophical work, the category of time becomes both a method of deepening the character's personality, and an indicator of the figurative model of the world, and the subject of research.


1997 ◽  
Vol 161 ◽  
pp. 49-59
Author(s):  
Theodore P. Snow

AbstractThe diffuse interstellar bands have been recognized for over 75 years, and remain unidentified today. This family of broad interstellar absorption features, now numbering well over 100, has been the subject of a great deal of speculation, intensive observations, and lately has stimulated the interest of chemists as well as astronomers. In this review I briefly summarize the history of the problem and then provide an overview of the current state of affairs. I emphasize recent evidence that the carriers are large molecular species, most likely organic in nature, which are abundant in the diffuse interstellar medium. If so, then the ultimate identification of the responsible species will provide a new window into the detailed chemical and physical properties of the interstellar gas. I also discuss constraints imposed on the carriers by a recent reassessment of the interstellar carbon abundance.


2021 ◽  
Vol 5 (S2) ◽  
pp. 274-283
Author(s):  
Zoya Alforova ◽  
Serhii Marchenko ◽  
Yuliia Shevchuk ◽  
Svitlana Kotlyar ◽  
Serhii Honcharuk

The relevance of the study is conditioned by the fact that the development of Ukrainian art, including cinema, is becoming more popular every year. Since 2014, the Ukrainian film industry has been rapidly developing, and has also shown good results at European and other international film festivals. The purpose of the study is to analyse the position of Ukrainian cinema in the recent historical period, as well as to analyse the preconditions that were created for its development and introduction to the European cinema market. The methodological basis of this study is the combination of theoretical methods of cognition. Methods of data analysis and synthesis, dialectical method, historical and periodisation method are used. In the course of writing this paper, the studies of Ukrainian and foreign researchers regarding the subject were studied and analysed. The establishment and current state of the film industry are investigated. The preconditions for the development of Ukrainian cinema as well as factors that influenced its entrance to the European market are considered. Studying the history of Ukrainian cinema and the process of its commercial distribution, will help to analyse the stages of its establishment, as well as explore opportunities for industry development.


2021 ◽  
Vol 11 (2) ◽  
pp. 329-350
Author(s):  
Halyna Davydovska ◽  
Oleksiy Petruchenko ◽  
Volodymyr Yanin

In this article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. In addition, the authors considered and analyzed the assessment of Vice Admiral Stepan Osypovych Makarov and his personal contribution to the results of the first Arctic expeditions of the “Yermak”icebreaker made by Baron Ferdinand von Wrangel. The first polar expeditions showed that the idea of Vice Admiral Stepan Osypovych Makarov about the icebreaker fleet was viable and required further development. It is shown that the results of the first Arctic expeditions made by “Yermak” allowed to significantly develop knowledge in various scientific fields of Arctic and Earth research, namely, topography, astronomy, meteorology, hydrology, geology, magnetism, zoology, and botany. The use of these methods and approaches to scientific research allowed to retrace the way of life and professional activity of Vice Admiral Stepan Osypovych Makarov’s systematically and critically evaluate the sources used, highlight the main points in the current state of studying the subject and the results of predecessors, specify the most promising directions of research, give a description of the previous works on this issue and clearly distinguish issues that have not yet been resolved.


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