Hryhoriy Bondarenko and His School

2021 ◽  
Vol 2021 (02) ◽  
pp. 123-134
Author(s):  
O. Shylo ◽  
Keyword(s):  
Picture Plane ◽  
Creative Activity ◽  
Artistic Practice ◽  
The Third ◽  
Graphic Artist ◽  
Art Form ◽  
A Chain ◽  
The One ◽  
The 19Th Century ◽  
New Tradition

Through his work and pedagogical activity, an outstanding Kharkiv graphic artist, professor of Kharkiv Art Institute Hryhoriy Bondarenko connected today’s artistic practice with the great traditions of art, to which he belonged. In the 1910s, H. Bondarenko studied at the Odessa Art School, with K. Kostandi; in 1915–1917 – at the Academy of Arts; and in 1923–1927 at Leningrad VKhUTEIN with K. S. Petrov-Vodkin and V. M. Konashevich. A chain of artistic tradition was formed in VKhUTEIN: K. Petrov-Vodkin – V. Serov – I. Repin – P. Chistyakov. With his pedagogical activity Chistyakov poses the problem of the creative method, and Repin – of the art form. Serov approaches its solution in the idea of projection drawing. Petrov-Vodkin supplemented it with an understanding of picture plane as space. Bondarenko synthesized all these aspects. His creative method is considered on the example of a number of his graphic works. It is based on three main points. The first is a double understanding of the picture plane on which the image is made. It is thought of, on the one hand, as a projection plane and, on the other hand, as space. The second is a combination of projections. The third is the understanding of the image as a way of processing the surface of the sheet. Among the students of H. Bondarenko, perceived this creative method, there were such well-known masters as V. Kulikov, V. Lenchin, V. Nenado. Each of them developed those aspects of the method that were organic to them. The universality, harmony and consistency of the analyzed creative method are shown in the article. It is based on a holistic worldview. Two great traditions, the successor, contemporary and continuer of which he was, merged together in H. Bondarenko’s creative activity and pedagogical work: the classical art of the 19th century, and new art of the 20th century, which itself has become a new classic and a new tradition.

scholarly journals The Epigraph to ʽForest and Steppe’ by Ivan Turgenev: Conveying the ʽEmblematic’ Worldview in the Tradition of Translation

2021 ◽  
Vol 3 (1) ◽  
pp. 112-133
Author(s):  
Maria R. Nenarokova
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
The Other ◽  
Main Difficulty ◽  
Classical Literature ◽  
English Speaking ◽  
A Chain ◽  
Symbolic Images ◽  
The One ◽  
The 19Th Century

The article focuses on the reception of Russian classical literature translations in the English-speaking culture. The research was carried out on the material of three existing translations of ‘Forest and Steppe’ by both Russian and English translators published in 1895, 1955 and 1967. The main objective of the research is to determine the difficulties translators of Russian literature of the 19th century could face in the case of Turgenev's epigraph to ‘Forest and Steppe’. The tasks of the study were to define and describe the peculiarities of conveying the epigraph’s vocabulary, to outline the group of the most important keywords of the text, to recognize and describe discrepancies in their translation, to indicate why the chosen option is possible or impossible in the translation of Turgenev’s text. The study showed that Turgenev's worldview was formed under the influence of the culture of ‘rhetorical word’, and the epigraph to ‘Forest and Steppe’ proves it. The epigraph consists of a chain of symbolic images that add up to a single picture. The writer's worldview determined the style of the epigraph, the choice of vocabulary, and the composition of the text. For translators, the main difficulty at the lexical level lies in the fact that they often choose words that carry a greater emotional load than Turgenev’s vocabulary, and also introduce tropes, absent in the original, into translations. On the one hand, the translations create a realistic picture, in contrast to Turgenev’s symbolic landscape, on the other hand, the atmosphere of the text, reflecting the personality of the writer, is destroyed. The translations mirror profound changes that took place in the 19th–20th centuries in the European worldview.

Religious Offences in Italy: Recent Laws Concerning Blasphemy and Sport

2011 ◽  
Vol 13 (2) ◽  
pp. 182-197 ◽  
Author(s):  
Anna Gianfreda
Keyword(s):  
Criminal Law ◽  
Religious Freedom ◽  
Church And State ◽  
The Third ◽  
Recent Developments ◽  
History Of ◽  
Historical Remarks ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Religious offences in Italy, as in many European countries, have a long and complex history that is intertwined with the events in the history of the relationship between church and state and the institutional and constitutional framework of a nation.This article is divided into three parts. The first part aims to offer some historical remarks concerning the rules on the contempt of religion and blasphemy in Italian criminal law from the end of the 19th century to the present day. The second part focuses on changes to the law on vilification introduced in 2006 and the third part deals with the recent developments in blasphemy law in the context of sport.The article shows that, on the one hand, reforms of the offences grouped under vilification of religion are anachronistic and do not stand up against the religious freedom of individuals, yet on the other, despite the traditional rules for the protection of religion being considered obsolete, they are applied in new areas of law, for example sport, and are used to curb bad manners and bad behaviour. The relationship between the new functions of these criminal rules and the traditional ones, however, remains uncertain and fluctuating, and reveals a moralistic approach to religious offences.

scholarly journals The Diplomatic Status of the Joseon Kingdom in the Context of the Competition among China, Japan and Russia on the Korean Peninsula (Late 19th Century)

2020 ◽  
Vol 34 ◽  
pp. 83-89
Author(s):  
L. E. Kozlov ◽  
Keyword(s):  
19Th Century ◽  
Great Powers ◽  
The Other ◽  
Late 19Th Century ◽  
The Third ◽  
Fourth Level ◽  
Qing Government ◽  
The One ◽  
Global Arena ◽  
The 19Th Century

At the end of the 19th century Korea took the first steps towards developing a modern model of diplomacy. This process was hampered by the inertia of vassal-suzerain relations with China and the uncertain status of Korea on the global arena. The author analyzed the indications of incomplete sovereignty of the Joseon Kingdom and its attempts to conduct sovereign diplomacy. The attitude of the great powers to Joseon has been considered. The uncertainty of Korea's diplomatic status at the end of the 19th century can be illustrated by the following contradiction. On the one hand, the great powers recognized Korea's sovereignty as a limited one and assigned a minister resident or consul general, which corresponds to the third and fourth level of a diplomatic representative. On the other hand, the Qing government prevented Joseon from pursuing an independent foreign policy, but could not shape it at its discretion. In 1901-1902, the diplomatic status of the Joseon Kingdom finally became fully sovereign de jure, de facto though internal problems and weaknesses did not disappear, and in 1904–1905 a Japanese protectorate over Korea was established.

scholarly journals W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION

2021 ◽  
pp. 37-47
Author(s):  
Olha Kabkova
Keyword(s):  
The Other ◽  
Third Party ◽  
Original Text ◽  
Creative Activity ◽  
The Third ◽  
Poetic Image ◽  
Different Types ◽  
Third Person ◽  
To Come ◽  
The One

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

scholarly journals JOAN OF ARC BY D. S. MEREZHKOVSKY: SOURCES AND IMAGERY

2021 ◽  
Vol 19 ◽  
pp. 282-300
Author(s):  
Veronica Zuseva-Özkan
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
The Other ◽  
Joan Of Arc ◽  
The Third ◽  
Other Hand ◽  
The One ◽  
The 19Th Century

The article examines the eternal image of the warrior maid in the works of D. S. Merezhkovsky, its constant features and evolution. His later book Joan of Arc (1938) is compared in this aspect to his early poem “A Legend from T. Tasso” (1882). Special attention is heeded to the analysis of the sources of Joan of Arc and the interpretation of the heroine as a warrior maid in comparison with the preceding texts, on the one hand, and “A Legend from T. Tasso,” on the other hand. Merezhkovsky’s creative reception of the historiographic tradition depicting Joan of Arc combines the topoi of its different versions (he reproduces a number of ideas characteristic of the texts written for the rehabilitation trial of Joan; the heroic discourse of the Renaissance historiography; the position of the 17th-century historians with Providentialist views; the representation of Joan of Arc as a folk heroine, typical for the liberal historians of the 19th century), but this conglomerate is subject to his own concept of the Kingdom of the Third Testament. It is established that, although in Joan of Arc Merezhkovsky sticks closer to the prior texts than in “A Legend from T. Tasso” on the superficial level and seeks to create the impression of documental accuracy, in fact, he uses the same mythologization method, as in his earlier work. The direction of modifications made by the author to the historiographic canon depends on his religious, mystical, and historiosophical notions.

scholarly journals Ethos Formula: Liturgy and Rhetorics in the Work of Ted Shawn

2017 ◽  
Vol 3 (1) ◽  
pp. 23 ◽  
Author(s):  
Alexander Schwan
Keyword(s):  
The Body ◽  
Ethical Dimension ◽  
Giorgio Agamben ◽  
Protestant Church ◽  
Art Form ◽  
Ted Shawn ◽  
Classical Ballet ◽  
The One ◽  
The 19Th Century ◽  
Aby Warburg

Beginning with Giorgio Agamben�s alignment of ethics and potentiality, this essay questions the ethical dimension of gesture in the field of dance as an eminently potentiality-bound art form. This draws on Daniel Sibony�s concept of law and dance, according to which the body simultaneously repels and longs for the law as a nexus of heteronomous structures. I frame this through a revision of Aby Warburg�s rhetorical concept, pathos formula, into the corollary term, ethos formula, as the encoded movement patterns of ethical attitudes or comportments which are motivated by decision-making rather than emotional content. Do gestures and their citation in dance bear an ethical dimension similar to the encoded transmission of emotions through movement?This new concept of ethos formula finds an excellent example in the work of the American choreographer Ted Shawn (1891�1972). His strikingly hybrid use of ethos formula from the 19th century Catholic theorist Fran�ois Delsarte and his parallel practice of quoting liturgical gestures from Protestant church services, pursues the ambiguity and uncanniness of modernity itself. For Shawn�like many other protagonists of modernist dance�argues on the one hand for freeing the body from the boundaries of classical ballet in the name of individual expression, and on the other hand for an instrumentalized body that still clings to principles of taxonomy and normativity.

Alkohol im Tank – Bio-Kraftstoffe und die Grenzen moderner Mobilität

2004 ◽  
Vol 34 (136) ◽  
pp. 455-468
Author(s):  
Hartwig Berger
Keyword(s):  
Third World ◽  
Fossil Fuel ◽  
Energy Resources ◽  
The Third ◽  
Political Conflicts ◽  
The Future ◽  
Long Time ◽  
Food Market ◽  
The One ◽  
The Third World

The article discusses the future of mobility in the light of energy resources. Fossil fuel will not be available for a long time - not to mention its growing environmental and political conflicts. In analysing the potential of biofuel it is argued that the high demands of modern mobility can hardly be fulfilled in the future. Furthermore, the change into using biofuel will probably lead to increasing conflicts between the fuel market and the food market, as well as to conflicts with regional agricultural networks in the third world. Petrol imperialism might be replaced by bio imperialism. Therefore, mobility on a solar base pursues a double strategy of raising efficiency on the one hand and strongly reducing mobility itself on the other.

Al-Rasm al-ʿUthmānī: Towards Correct Pronunciation and the Preclusion of Ambiguity

2011 ◽  
Vol 13 (2) ◽  
pp. 201-171
Author(s):  
Nāṣir Al-Dīn Abū Khaḍīr
Keyword(s):  
Specific Pattern ◽  
Writing Style ◽  
The Third ◽  
The Past ◽  
Different Ages ◽  
Correct Pronunciation ◽  
The One ◽  
The Mind

The ʿUthmānic way of writing (al-rasm al-ʿUthmānī) is a science that specialises in the writing of Qur'anic words in accordance with a specific ‘pattern’. It follows the writing style of the Companions at the time of the third caliph, ʿUthmān b. ʿAffān, and was attributed to ʿUthmān on the basis that he was the one who ordered the collection and copying of the Qur'an into the actual muṣḥaf. This article aims to expound on the two fundamental functions of al-rasm al-ʿUthmānī: that of paying regard to the ‘correct’ pronunciation of the words in the muṣḥaf, and the pursuit of the preclusion of ambiguity which may arise in the mind of the reader and his auditor. There is a further practical aim for this study: to show the connection between modern orthography and the ʿUthmānic rasm in order that we, nowadays, are thereby able to overcome the problems faced by calligraphers and writers of the past in their different ages and cultures.

Detection and representation of the basic peculiarities of vegetation cover by the mapping method (experience based on a research of goltsy-taiga territories)

2013 ◽  
pp. 32-47
Author(s):  
S. V. Osipov
Keyword(s):  
Vegetation Cover ◽  
Mapping Method ◽  
Vegetation Changes ◽  
Large Classes ◽  
High Rise ◽  
The Third ◽  
Altitudinal Belts ◽  
The One ◽  
Dynamic Series ◽  
River Valleys

Geobotanical mapping of the territory in riverheads Bureya of 4500 sq.km is carried out and the map of a actual vegetation cover of scale 1 : 200 000 is prepared. The legend of the map is presented in the form of the text with three-level hierarchy of classes. At the heart of structure of a legend of the map such regularities of a vegetation cover, as its latitudinal zonality / altitudinal belts, situation in a relief and dynamic series lie. The largest divisions of the legend reflect, first, change of large classes of mesocombinations of vegetation at the level of belts and, secondly, distinction in a boreal - forestry belt between a vegetation cover of tops and slopes of mountains, on the one hand, and the bottoms of river valleys, with another. Divisions of the legend of the second level reflect, first, vegetation changes in the form of high-rise and barrier changes of subbelts, secondly, distinctions of a vegetation cover in different geomorphological conditions (small and average river valleys, northern slopes, etc.). Divisions of the legend of the second level correspond to dynamic series of units of the third level. Essential addition to it are block diagrams of dynamics of a vegetation cover.

Samuel the Third in the Midst of the Hebrew Creative Activity towards the End of the First Millennium in Eretz Israel

Ginzei Qedem ◽  
2020 ◽  
Author(s):  
Joseph Yahalom
Keyword(s):  
General Public ◽  
Critical Edition ◽  
Full Scale ◽  
Creative Activity ◽  
The Third ◽  
First Millennium

The article serves as a supplement to a recent critical edition: The Yotserot of R. Samuel the Third: A Leading Figure in Jerusalem of the 10th Century (Joseph Yahalom and Naoya Katsumata eds., Yad Izhak Ben-Zvi, Jerusalem 2014, 1139 pp.). The article includes some new texts in the genre of the author's well-known activity in the field of Yotserot as well as a fragment in the genre of the Azharot. The article deals by way of introduction to the full scale of activity in establishing the newly full-fledged Yotserot genre which was introduced mainly in the middle of the century by Sa‛adia Gaon. In so doing he was able to produce two entirely new sets of Yotserot according to his well-known habits of creating parallel literary oeuvre, one for the general public and one for the elite. In a totally different capacity the article deals with a special liturgical technique established by Samuel to be used in his Ahavot and for his Meʼorot. He basically described his wretched nation as a special two-part construct state embodying a plethora of information and a whole world of sympathy.

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