scholarly journals COLORONYMS AND LUXONYMS AS A MEANS OF CREATING ARTISTIC IMAGE IN HISTORICAL PROSE BY V. IPATOVA AND V. KARATKEVICH

2021 ◽  
pp. 157-162
Author(s):  
Mikhail Shevchenko
Keyword(s):  
Work Of Art ◽  
Color Palette ◽  
Frequency Of Use ◽  
The World ◽  
Associative Connection ◽  
Color Combinations ◽  
The Individual ◽  
Style Of Writing ◽  
Artistic Image ◽  
Color And Light

The article examines the color and light vocabulary, with the help of which the authors create a figurative system of artistic text. It is a universal tool for creating a figurative and expressive characteristics of a real, ethnocultural space. The use of coloronyms and luxonyms in the historical prose of the authors, their linguistic interpretation indicates the determination of the individual author’s specificity of the perception of color by the writer and the adequate associative connection of color combinations arising from the reader. Creating a masterfully figurative picture or model of a certain ethnic group in the context of a work of art is an important task of every writer who conveys his vision of the world through different semantic groups of words as elements of artistic imagery. This also applies to the corresponding group of vocabulary denoting color and light. The semantic group of words denoting color is used in any work of art: in one the frequency of use of color designations is greater, in the second - less. Selected literary works on historical themes by V. Ipatova and V. Korotkevich are widely saturated with color vocabulary, which deserves a multifaceted analysis. The perception of the artistic word is an individualized phenomenon and is unique in the history of national literature and culture in general. The writers virtually penetrated into ancient events, rites and customs, skillfully described their heroes, national color, ethnic culture, social and spiritual life not only of Belarusians but also of other nations. The authors have made extensive use of the color palette, which involuntarily attracts the attention of readers and affects their figurative imagination. The peculiar style of writing of each author, the lexical and systemic organization of their texts, which organically include coloronyms, give the opportunity to vividly imagine the verbal picture of the world created by the writer. It should be noted that when describing a broad historical panorama, the authors often use color in the lexical microsystem as a means of creating a highly artistic text. Language in works of art of the historical genre acts not only as a means of communication, but also as a carrier of artistic imagery.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Postscript: charismatic things and social transaction in Renaissance Italy

Urban History ◽  
2010 ◽  
Vol 37 (3) ◽  
pp. 474-482
Author(s):  
THOMAS V. COHEN ◽  
ELIZABETH S. COHEN
Keyword(s):  
Cultural Production ◽  
Urban Culture ◽  
New Age ◽  
Italian Renaissance ◽  
Low Countries ◽  
Work Of Art ◽  
Cultural Products ◽  
The World ◽  
Renaissance Italy ◽  
The Individual

In 1860, Jacob Burckhardt published his view, still influential today, of an artful, urban Italian Renaissance that launched Europe on its passage to modernity. A lively revisionary scholarship has challenged Burckhardt on many points, but his famous formulae still resonate: the state as work of art; the development of the individual; the discovery of the world and of man. Although we now know that Italy did not alone invent the new age, it was for many years a trendsetter, especially in the domains of cultural production at the centre of this collection of essays. Republican and princely polities alike framed these developments, but, whoever ruled, Italy's unusually intense urbanization (paired with that in another well-spring of culture in the Low Countries) fostered innovation. In Renaissance cities, people and groups invested heavily in special actions, objects and places – charismatic cultural products empowered by holiness, beauty, fame and ingenuity – that fortified solidarity and resilience in uncertain times. This essay collection addresses a conjunction of urban culture and society distinctive to Renaissance Italy: an array of encounters of artifacts with ways of living in community.

scholarly journals Painting as a prayer of the spirit

2020 ◽  
Vol 16 (4) ◽  
pp. 113-132
Author(s):  
Petr Dobrolyubov
Keyword(s):  
Fine Arts ◽  
Work Of Art ◽  
General Process ◽  
Russian School ◽  
Russian Art ◽  
Short Period ◽  
The World ◽  
Artistic Images ◽  
Moscow School ◽  
Artistic Image

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

scholarly journals The Place of Nurses in Legal Regulations Related to Complementary Therapies in Turkey and The World

2020 ◽  
Author(s):  
Şehnaz Kaya ◽  
Zeynep Karakuş ◽  
İlkay Boz ◽  
Zeynep Özer
Keyword(s):  
Health Care Professionals ◽  
Complementary Therapies ◽  
Modern Medicine ◽  
Legal Regulations ◽  
Individual Interest ◽  
Certificate Programs ◽  
The Past ◽  
Frequency Of Use ◽  
The World ◽  
The Individual

Complementary therapies are the names given throughout the methods applied in parallel with modern medicine to gain the health of the individual. Interest in complementary therapies from the past to the present day and the frequency of use of these methods continues to increase. Increasing use of complementary therapies by the community and requiring patients to make appropriate and safe decisions in their own care requires that health care professionals have knowledge and skills in complementary therapies. In this context, nurses are expected to identify and develop their own practice of using complementary therapies, and to develop a strategy for these practices. Nurses integrating these practices into patient care and evaluating their outcomes ensure that the care provided to the patient is comprehensive and holistic. In order for these processes to take place, important policies must be established for nurses across the country. In the 1900s many countries developed politics and started to establish certificate programs and projects. Regarding national and international legislation, it is seen that legal regulations are not sufficient, especially for nurses. In this review, national and international legal arrangements for complementary therapies and the place of complementary therapies in nursing will be discussed.

scholarly journals Development of students' communicative culture in the context of artistic practices

2021 ◽  
Vol 5 (S4) ◽  
pp. 1070-1084
Author(s):  
Svitlana Derkach ◽  
Myroslava Melnyk ◽  
Volodymyr Fisher ◽  
Mykola Krypchuk ◽  
Oleh Chystiakov
Keyword(s):  
Practical Importance ◽  
Well Being ◽  
A Value ◽  
The Social ◽  
The World ◽  
The Individual ◽  
Artistic Image ◽  
Emotional Level ◽  
Development Of Students

The relevance of the research is conditioned upon the problem of developing a communicative culture among students, considering the influence of the artistic component, both its professional part and the social one, explained by the introduction of the presented artistic image into the life of the younger generation. The purpose of the article is to develop a model for the development of communicative culture among students. The leading method to investigate this problem is the B.I. Dodonov method, studying the emotional, motivational component of the personality, considering the emerging emotional background as a value on which the health and quality of life of a person depend. Depending on being in a certain artistic component, an individual has various experiences at the psycho-emotional level, which form a motivational environment for perceiving the world and the course of personal actions based on getting into various life situations. This model, based on artistic practices, creates conditions for the holistic development of the individual, aimed at preserving psychological and physical health, both personal and others, which is of practical importance for the education and well-being of society.

THE ROLE OF IRONY IN UZBEK LITERATURE

2021 ◽  
Vol 5 (3) ◽  
pp. 50-59
Author(s):  
Ugiloy Mavlonova ◽  
Keyword(s):  
Literary Criticism ◽  
Research Methods ◽  
World Literature ◽  
Work Of Art ◽  
Scientific Investigations ◽  
Works Of Art ◽  
The World ◽  
The Individual

Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.

New walls to keep the bad out: populism and the totalitarian psyche

2019 ◽  
Vol 1 (2) ◽  
pp. 120-130
Author(s):  
Coline Covington
Keyword(s):  
Cold War ◽  
Balance Of Power ◽  
Berlin Wall ◽  
Group Solidarity ◽  
Freedom Of Movement ◽  
Psychological Understanding ◽  
Psychic Development ◽  
The World ◽  
The Individual ◽  
The Cold War

The Berlin Wall came down on 9 November 1989 and marked the end of the Cold War. As old antagonisms thawed a new landscape emerged of unification and tolerance. Censorship was no longer the principal means of ensuring group solidarity. The crumbling bricks brought not only freedom of movement but freedom of thought. Now, nearly thirty years later, globalisation has created a new balance of power, disrupting borders and economies across the world. The groups that thought they were in power no longer have much of a say and are anxious about their future. As protest grows, we are beginning to see that the old antagonisms have not disappeared but are, in fact, resurfacing. This article will start by looking at the dissembling of a marriage in which the wall that had peacefully maintained coexistence disintegrates and leads to a psychic development that uncannily mirrors that of populism today. The individual vignette leads to a broader psychological understanding of the totalitarian dynamic that underlies populism and threatens once again to imprison us within its walls.

Virginia Woolf and Being-in-the-world

2017 ◽  
Author(s):  
Emma Simone
Keyword(s):  
Virginia Woolf ◽  
Historical Context ◽  
The Political ◽  
Cartesian Dualism ◽  
Self And Other ◽  
The World ◽  
Binary Oppositions ◽  
The Individual ◽  
The Relationship ◽  
Existential Perspective

Virginia Woolf and Being-in-the-world: A Heideggerian Study explores Woolf’s treatment of the relationship between self and world from a phenomenological-existential perspective. This study presents a timely and compelling interpretation of Virginia Woolf’s textual treatment of the relationship between self and world from the perspective of the philosophy of Martin Heidegger. Drawing on Woolf’s novels, essays, reviews, letters, diary entries, short stories, and memoirs, the book explores the political and the ontological, as the individual’s connection to the world comes to be defined by an involvement and engagement that is always already situated within a particular physical, societal, and historical context. Emma Simone argues that at the heart of what it means to be an individual making his or her way in the world, the perspectives of Woolf and Heidegger are founded upon certain shared concerns, including the sustained critique of Cartesian dualism, particularly the resultant binary oppositions of subject and object, and self and Other; the understanding that the individual is a temporal being; an emphasis upon intersubjective relations insofar as Being-in-the-world is defined by Being-with-Others; and a consistent emphasis upon average everydayness as both determinative and representative of the individual’s relationship to and with the world.

“Utopia First!” A Machiavellian Conception of Solidarity in More's Utopia

Moreana ◽  
2018 ◽  
Vol 55 (Number 209) (1) ◽  
pp. 79-93
Author(s):  
Marie-Claire Phélippeau
Keyword(s):  
At Risk ◽  
Human Beings ◽  
Farm Work ◽  
The World ◽  
Social Difficulties ◽  
The Republic ◽  
The Individual ◽  
Democratic Elections ◽  
Communal Organization

This paper shows how solidarity is one of the founding principles in Thomas More's Utopia (1516). In the fictional republic of Utopia described in Book II, solidarity has a political and a moral function. The principle is at the center of the communal organization of Utopian society, exemplified in a number of practices such as the sharing of farm work, the management of surplus crops, or the democratic elections of the governor and the priests. Not only does solidarity benefit the individual Utopian, but it is a prerequisite to ensure the prosperity of the island of Utopia and its moral preeminence over its neighboring countries. However, a limit to this principle is drawn when the republic of Utopia faces specific social difficulties, and also deals with the rest of the world. In order for the principle of solidarity to function perfectly, it is necessary to apply it exclusively within the island or the republic would be at risk. War is not out of the question then, and compassion does not apply to all human beings. This conception of solidarity, summed up as “Utopia first!,” could be dubbed a Machiavellian strategy, devised to ensure the durability of the republic. We will show how some of the recommendations of Realpolitik made by Machiavelli in The Prince (1532) correspond to the Utopian policy enforced to protect their commonwealth.

Drowning in negativism, self-hate, doubt, madness: Linguistic insights into Sylvia Plath’s experience of depression

2015 ◽  
Vol 11 (1) ◽  
pp. 41-54 ◽  
Author(s):  
Zsófia Demjén
Keyword(s):  
Lived Experience ◽  
Medical Humanities ◽  
Sylvia Plath ◽  
Individual Experience ◽  
Qualitative And Quantitative ◽  
The World ◽  
The Individual ◽  
Linguistic Methods ◽  
Linguistic Approach

This paper demonstrates how a range of linguistic methods can be harnessed in pursuit of a deeper understanding of the ‘lived experience’ of psychological disorders. It argues that such methods should be applied more in medical contexts, especially in medical humanities. Key extracts from The Unabridged Journals of Sylvia Plath are examined, as a case study of the experience of depression. Combinations of qualitative and quantitative linguistic methods, and inter- and intra-textual comparisons are used to consider distinctive patterns in the use of metaphor, personal pronouns and (the semantics of) verbs, as well as other relevant aspects of language. Qualitative techniques provide in-depth insights, while quantitative corpus methods make the analyses more robust and ensure the breadth necessary to gain insights into the individual experience. Depression emerges as a highly complex and sometimes potentially contradictory experience for Plath, involving both a sense of apathy and inner turmoil. It involves a sense of a split self, trapped in a state that one cannot overcome, and intense self-focus, a turning in on oneself and a view of the world that is both more negative and more polarized than the norm. It is argued that a linguistic approach is useful beyond this specific case.

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