scholarly journals Men's academic performance 1950-1970s (on the example of creative activities of N. Apukhtin, A. Belov and G. Baukin)

2021 ◽  
Author(s):  
Liudmyla Vyshotravka
Keyword(s):  
Twentieth Century ◽  
Academic Performance ◽  
Key Words ◽  
Professional Culture ◽  
Professional Experience ◽  
Creative Activity ◽  
Classical Dance ◽  
The 1950S ◽  
Artistic Images ◽  
Historical Comparative

The purpose of the article is to study artistic processes among ballet performers in the 1950s – 1970s on the example of the creative activity of Nikolai Apukhtin, Anatoly Belov, and Gennady Baukin. The methodology of the work includes the use of the following research methods: general historical, comparative, analytical, dialectical, systemic, etc. The scientific novelty of the publication lies in the fact that it first explored the professional culture in the field of male classical performance of the first half of the twentieth century on the example of the stage achievements of N. Apukhtin, A. Belov, and G. Baukin. Conclusions. The artistic contribution of the ballet premieres of the 1950s – 1970s. in the development of Ukrainian classical choreography on the example of the creativity of dancers N. Apukhtin, A. Belov, and G. Baukin, consists in the following: 1) a significant increase in the professional culture of performers due to the complication of the technical component and improvement of the actors' acting skills; 2) the creation of highly artistic images in ballets of the Soviet classics (B. Asafiev, R. Glier, A. Kerin, S. Prokofiev, A. Khachaturian, M. Chulaki, V. Yurovsky, etc.) and choreographic performances on national themes (V. Homolyak, K. Dankevich, G. Zhukovsky, V. Kireiko, N. Lysenko, A. Svechnikov, M. Skorulsky, B. Tishchenko, etc.); 3) transfer of professional experience in the process of pedagogical work to subsequent generations of Ukrainian dancers. Key words: N. Apukhtin, A. Belov, G. Baukin, male classical dance, Ukrainian ballet theater.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

Coda

2020 ◽  
pp. 734-743
Author(s):  
Laura U. Marks
Keyword(s):  
Twentieth Century ◽  
Religious Fundamentalism ◽  
Labor Movements ◽  
Grassroots Politics ◽  
International Solidarity ◽  
Guerrilla Movements ◽  
History Of ◽  
Armed Resistance ◽  
The 1950S ◽  
Arabic Speaking

In the twentieth-century Arabic-speaking world, communism animated anticolonial revolutions, workers’ organizations, guerrilla movements, and international solidarity. The communist dream was cut short by Arab governments, deals with global superpowers, the rise of religious fundamentalism, and historical bad luck. But recently a remarkable number of Arab filmmakers have turned their attention to the history of the radical Left. Filmmakers from Iraq, Syria, Lebanon, Palestine, Egypt, Algeria, Tunisia, and Morocco have been urgently seeking models for grassroots politics in the labor movements, communist parties, and secular armed resistance of earlier generations. This coda explores two strata of communist audiovisual praxis: the radical cinema that supported labor movements and guerrilla actions from the 1950s to the 1980s, and recent films that draw on that earlier movement. The coda argues that the Arab audiovisual archive holds flashes of communism that have been neither fulfilled nor entirely extinguished. The new films release their unspent energy into the present, diagnosing earlier failures of Arab communism and making plans for new forms of solidarity.

Життєтворчість Іллі Саца у вітчизняному культурному просторі початку ХХ століття

2019 ◽  
Vol 4 (36) ◽  
Author(s):  
O. Badalov
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Creative Activity ◽  
Analysis Method ◽  
Music Criticism ◽  
Comprehensive Understanding ◽  
Musical Life ◽  
Humanitarian Space ◽  
The Subject ◽  
Creative Life

The subject of the study is comprehensive understanding of the life and creativity by I. Sats – a significant figure in the national musical life of the early twentieth century.The purpose of the article is exploring the circumstances of I. Sats’ activity in the socio-cultural context of the era.The methodology of the article includes: historical and chronological method – for studying the events of the artist’s biography; source method – for research of archival materials, correspondence, reconstruction of composer’s creative life; hermeneutical analysis method – for interpretation of literary inheritance (libretto, music criticism) by I. Sats in the context of the early twentieth century; logic-generalization method – to summarize the results of the study.As a result of the research, a complex view on the multivectoral creative activity by I. Sats was formed, his significant role in the formation of new genres of musical and theatrical creativity, development of the humanitarian space of Chernihiv, Irkutsk, and Moscow was proved. The application of the results of the research in scientific, music-pedagogical and educational activities will significantly expand the established ideas about the development of the national musical culture.Key words: music for theater, Moscow Art Theater, satirical opera, I. Sats, Chernihiv region, Irkutsk music classes.

Integration of the Tatar communityto Azerbaijani society

2021 ◽  
Vol 69 (08) ◽  
pp. 20-26
Author(s):  
Эллада Амирага гызы Аббасова ◽  
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
International Cooperation ◽  
Ethnic Minorities ◽  
Cultural Exchange ◽  
Common Origin ◽  
The World ◽  
Future Events ◽  
The Republic ◽  
The Relationship

The development of international cooperation in the field of culture is extremely important, since it ensures wide and in-depth interaction between states and peoples, makes a real opportunity for dialogue, unites the cultures of the peoples of the world. Two fraternal countries have actively taken root in international cultural exchange; Azerbaijan and Tatarstan. Azerbaijan is a multicultural country that is home to many peoples and ethnic minorities. Representatives of the peoples inhabiting this region are full citizens of the Republic of Azerbaijan, including the Tatars. The radical transformations that befell these countries at the end of the twentieth century influenced future events and their development. The Azerbaijani and Tatar peoples, whose relations have a long history, are linked by a common origin, similarity of language, culture and traditions. The relationship between the two peoples has strengthened even more during the years of independence. Key words: Tatars in Azerbaijan, activities of the Tatar community, cultural exchange, Tugan-Tel, Yashlek, Ak-Kalfak

Analysing the Self-Efficacy Levels of Coaches of Different Branches

2021 ◽  
Vol 15 (7) ◽  
pp. 2206-2209
Author(s):  
Nahit Özdayi
Keyword(s):  
Normal Distribution ◽  
Key Words ◽  
Self Efficacy ◽  
The Self ◽  
The Other ◽  
Professional Experience ◽  
Age Group ◽  
Other Hand

Aim: This paper aims to analyse the self-efficacies of coaches of different branches. Methods: This study, which was conducted by using coach self-efficacy scale, reached totally 192 volunteering coaches who lived in Çanakkale and Balıkesir. The data collected were then analysed on the SPSS programme. The kurtosis and skewness values were examined so as to check the distribution of the data, and consequently, the data were found to have normal distribution. Results: As a result, statistically significant differences were found between the coaches aged 28-32 and coaches aged 33-37 in their levels of self-efficacy in general and in the sub-factor of efficacy in impersonating. Accordingly, the coaches who were in 28-32 age group had higher self-efficacy and efficacy in impersonating than the ones who were in 33-37 age group. On the other hand, there were no statistically significant differences between the participants’ levels of self-efficacy according to gender, branch and professional experience. Conclusion: The coaches in the 28-32 age group were found to have higher self-efficacy and efficacy in impersonating than the coaches in the 33-37 age group on examining the results obtained. No differences were found between the participants in the other factors. Key Words: Self-efficacy, coaches, sport

Epilogue

2018 ◽  
Author(s):  
Kendra Taira Field
Keyword(s):  
Twentieth Century ◽  
Jim Crow ◽  
Great Migration ◽  
Left Behind ◽  
History Of ◽  
The Great Migration ◽  
Image Fit ◽  
The 1950S ◽  
Back To Africa

“Grandpa went back to Africa with Garvey,” my grandmother recalled. I carried this precious refrain into the archives with me. In Garvey’s place, I found Chief Sam, in the black and Indian borderlands of Oklahoma. While the Great Migration had largely displaced the preceding history of black rural emigration at the nadir, so had Garveyism displaced descendants’ memories of the Chief Sam movement. Meanwhile, scholars portrayed the movement as the product of a single charismatic charlatan and his nameless, faceless followers. Relying almost exclusively on U.S. sources and the memories of those “left behind” in an economically depressed and politically repressed Jim Crow Oklahoma, the only book-length study of the movement, written in the 1950s, argued that the Chief Sam movement illustrated “the desperate hopes of an utterly desperate group of people.” The image fit easily with twentieth-century American tropes of black victimhood and criminality....

scholarly journals Volodymyr Andriyovych Motornyi: stokes to the portrait of the teacher

2020 ◽  
Vol 69 ◽  
pp. 9-19
Author(s):  
Alla Tatarenko ◽  
◽  
Olha Soroka
Keyword(s):  
Key Words ◽  
Literary Studies ◽  
Scientific School ◽  
Literary Critic ◽  
Creative Activity ◽  
Public Figure ◽  
Science Professor ◽  
National University ◽  
Scientific Pedagogical ◽  
Slavic Studies

Background: Volodymyr Andriyovych Motornyi (1929–2015) is an outstanding Ukrainian Slavist, literary critic, culturologist, university lecturer, translator, diplomat, public figure. The scientific and pedagogical activity of the professor of the Department of Slavonic Philology at the Ivan Franko National University of Lviv is well known in the Slavic world. One of the most prominent representatives of Lviv Slavic studies, an active organiser of science, Professor Volodymyr Motornyi was a famous representative of Bohemistics. Along with Professor Kostiantyn Trofymovych, he launched the Ukrainian scientific school of Sorbian studies, actively studied and popularised the literature and culture of various Slavic nations. One can hardly overestimate his contribution to the development of Ukrainian science being a talented teacher who educated many generations of young Slavists, was a co-organiser of the Lviv International Slavic Colloquia, as well as numerous scientific and cultural events. Despite the existence of articles and reviews dedicated to Volodymyr Motornyi, the figure of the Professor deserves more detailed coverage and promotion of his creative heritage. Purpose: The article aims to introduce readers to a sort of the portrait of Professor Motornyi as a teacher and scholar; and given the scale of the scholar and the breadth of his interests, the authors have chosen the path of presentation of just a few aspects of his work. A special place is given to the combination of objective and subjective presentation of the Professor: the facts of the biography of the scholar are supplemented by the memories of the colleagues and students. Results: The article outlines the basic touches to the portrait of Professor Volodymyr Andriyovych Motornyi, a remarkable Ukrainian scholar, one of the most prominent representatives of Lviv Slavic studies. The key dates of the biography are given, the main directions of scientific, pedagogical, and creative activity of the Slavist are analysed. Memoirs of the colleagues – well-known scholars, former students and followers of the Professor – are an important element of the article. The article is currently the most complete and comprehensive presentation of the figure of the outstanding Ukrainian scholar, educator, organiser of science, intellectual and Teacher. Key words: Volodymyr Andriiovych Motorny, Slavic studies, literary studies, bohemian studies, sorabistics, pedagogical activity.

scholarly journals Zofia Dwornik: Becoming a Female Film Editor

Panoptikum ◽  
2020 ◽  
pp. 63-76
Author(s):  
Paulina Kwiatkowska
Keyword(s):  
Professional Life ◽  
Creative Activity ◽  
First Choice ◽  
The 1950S ◽  
Post War ◽  
The 1960S

In this article the author intends to recall the figure of Zofia Dwornik, one of the most appreciated and nowadays rather forgotten female film editors of post-war communist Poland. For the twenty-five years of her creative activity, Dwornik cooperated in the production of more than thirty films with the most important directors of the Polish cinema in the 1950s, 60s and 70s. In the Polish post-war cinema, the profession of film editor was strongly feminised. In the case of Dwornik, her decision to choose this particular profession was, however, based on additional objective considerations, closely related to the context of the Stalinist period in Poland, and was not her first choice of career – she had wanted to become a film director. In this article the author takes a closer look not so much at the achievements of Dwornik in the 1960s and 70s, but at the complex circumstances that influenced her later career. Therefore, the author tries to reconstruct the most important moments in Dwornik’s student and professional life in the first years after WWII and analyse one of the film études she made at the Film School in Łódź, in order to examine the reasons for her decision to become a film editor. This allows also to formulate some hypotheses how her career might have developed, had she been given the chance to graduate and try her hand at directing.

scholarly journals A história oral visita o cinema: Que bom te ver viva e Los Rubios

2016 ◽  
Vol 2 (1) ◽  
pp. 118
Author(s):  
Ana Maria Veiga
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Oral History ◽  
Time History ◽  
Film Maker ◽  
Political Resources ◽  
Palabras Clave ◽  
Brazilian Film ◽  
Siglo Xx

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals Antonio Revenga Carbonell, cartógrafo de ensanches en la España de mediados del siglo XX / Antonio Revenga Carbonell, urban extension projects cartographer in mid-twentieth-century Spain

Ería ◽  
2019 ◽  
Vol 2 (2) ◽  
pp. 223-235
Author(s):  
Bárbara Polo Martín
Keyword(s):  
Twentieth Century ◽  
Professional Experience ◽  
Technical Knowledge ◽  
National Geographic ◽  
Siglo Xx

Antonio Revenga Carbonell fue un ingeniero geógrafo que destacó por su actividad cartográfica y geográfica. Tras su ingreso en el cuerpo, en 1912, adquirió diferentes competencias en el Instituto Geográfico Nacional y diversificó sus conocimientos técnicos. La cartografía es la menos conocida entre sus actividades y la más importante. Su experienciaprofesional como topógrafo e ingeniero contribuyó a que diferentes Ayuntamientos requirieran sus servicios, durante las décadas 1940-1960, para levantar planos urbanos precisos y realizar proyectos de ensanche acordes con la legislación urbana de la época. El objetivo es dar a conocer un capítulo del legado cartográfico español que, en su mayor parte, ha permanecido oculto en los archivos, o ha sido desconocido por las propias instituciones.Antonio Revenga Carbonell était un ingénieur géographe qui se distinguait par son activité cartographique et géographique. Après être entré dans le corps, en 1912, il acquit différentes compétences à l’Institut géographique national et diversifia ses connaissances techniques. La cartographie est la moins connue de ses activités et la plus importante. Son expérience professionnelle d’arpenteur-géomètre et d’ingénieur a permis à différentes municipalités, dans les années 1940 et 1960, de solliciter ses services pour élaborer des plans précis et mener à bien des projets d’élargissement conformes à la législation urbaine de l’époque. L’objectif est de faire connaître un chapitre de l’héritage cartographique espagnol qui, pour l’essentiel, est resté caché dans les archives ou inconnu des institutions elles-mêmes.Antonio Revenga Carbonell was a Geographical Engineer who stood out for his cartographic and geographical activity. After entering the corps, in 1912, he acquired different skills at the National Geographic Institute and diversified his technical knowledge. Cartography is the least known among his activitiesbut the most important. His professional experience as a surveyor and engineer contributed to different municipalities requiring their services, during the 1940s and 1960s, to build accurate urban plans and carry out extension projects in accordance with the urban legislation of that time.The objective is to present a chapter of the Spanish cartographic legacy that, for the most part, has remained hidden in the archives, or has been unknown by the institutions themselves. 

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