scholarly journals Spiritual and semantic approach to studying a musical composition

2018 ◽  
Vol 49 (49) ◽  
pp. 4-18
Author(s):  
Oksana Aleksandrova
Keyword(s):  
20Th Century ◽  
Semantic Analysis ◽  
Cognitive Model ◽  
Musical Composition ◽  
Creative Work ◽  
Semantic Approach ◽  
Theoretical Concepts ◽  
Scientific Cognition ◽  
Time Space ◽  
The World

Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).

scholarly journals Spiritual and semantic approach to studying a musical composition

2018 ◽  
Vol 49 (49) ◽  
pp. 4-18
Author(s):  
Oksana Aleksandrova
Keyword(s):  
20Th Century ◽  
Semantic Analysis ◽  
Cognitive Model ◽  
Musical Composition ◽  
Creative Work ◽  
Semantic Approach ◽  
Theoretical Concepts ◽  
Scientific Cognition ◽  
Time Space ◽  
The World

Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).

Semantics of the Qur’anic Weltanschauung

2009 ◽  
Vol 26 (4) ◽  
pp. 1-23
Author(s):  
Abdul Kabir Hussain Solihu
Keyword(s):  
Analytical Study ◽  
Semantic Analysis ◽  
Semantic Theory ◽  
Linguistic Relativity ◽  
Semantic Approach ◽  
Semantic Fields ◽  
The World ◽  
Key Concepts ◽  
Theological Perspective ◽  
Speakers Of Other Languages

This paper examines the structural semantic approach based on the theory of linguistic relativity to scriptural language as exemplified in Toshihiko Izutsu’s studies of the Qur’anic weltanschauung. According to this theory, each language contains a particular worldview that causes its speakers to view the world in a way different from the speakers of other languages. By an analytical study of the semantic fields and contextual use of the Qur’an’s key conceptual terms, Izutsu explores the semantic factors believed to have been employed by the Qur’an in its Islamization of the jahili (pre-Islamic Arab) worldview. Such an approach exhibits that the Qur’an’s linguistic vision of reality is internally coherent but culturally and historically conditioned. Following a textual analysis, this study critically examines, from both an ethical and a theological perspective, the semantic theory that Izutsu applies to the Qur’an’s key concepts in his two works: God and Man in the Qur’an and Ethico-Religious Concepts in the Qur’an. The objective is to investigate the extent to which semantic analysis could enrich our understanding of the ontological problems raised in the Qur’an.

scholarly journals SPACE AND TIME RELATIONSHIP IN METAPHYSICAL PAINTINGS OF THE 20TH CENTURY

2020 ◽  
Vol 9 (71) ◽  
Keyword(s):  
20Th Century ◽  
Space Time ◽  
Time And Space ◽  
Life And Death ◽  
Making Sense ◽  
Social Events ◽  
Time Space ◽  
The World ◽  
The Universe

Metaphysics, which deals with concepts such as existence, existentialism, space and god in its general content, is a branch of philosophy. It sought answers to questions related to these concepts through methods and perspectives different from science. The reason for all these questions is the effort to define the universe. Metaphysical philosophy has been the search for a solution to helplessness caused by the uncertainties caused throughout the history by life and death. Perspectives developed in parallel with the perception of the period have also shaped the questions and propositions. All these metaphysical approaches do not contain a definition that is independent of time and space. Time and space, as one of the most fundamental problematics of metaphysics, are accepted as the most important elements in placing and making sense of the human into the universe. In this context, metaphysics, which has a transphysical perspective as well as the accepted scientific expansions of real and reality, was mostly visible in the field of art rather than science. The aim of this article is to analyze the role of metaphysical philosophy in the emergence of metaphysical art in the context of the effects of social events, especially the destructions and disappointments caused by the world wars in the 20th century, on the artists and the reflections of the existential inquiries related to this. Furthermore this study includes definitions and processes of metaphysics. The works of Giorgio de Chirico and Carlo Carra have been interpreted in terms of form and content within the scope of metaphysics by considering the concepts of time-space. Keywords: Metaphysics, Space, Time, Metaphysical Art

scholarly journals “The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

2019 ◽  
Vol 52 (52) ◽  
pp. 53-70
Author(s):  
Duangui Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Semantic Analysis ◽  
World View ◽  
Compositional Approach ◽  
The World ◽  
Poetic Text ◽  
The Individual ◽  
The Ancient Chinese ◽  
First Time

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.

Solzhenitsyn and Shalamov

2019 ◽  
Vol 66 ◽  
pp. 131-158
Author(s):  
Sergey V. Zelenin
Keyword(s):  
20Th Century ◽  
World View ◽  
Creative Work ◽  
Soviet System ◽  
Value System ◽  
Personal Relations ◽  
The World ◽  
Prison Camp

The author of the article compares and analyses the two well-known writers who were the victims of Soviet system repressions in Stalin time and made that phenomenon the centerpiece of their creative work. So, this is about two writers of the 20th century – Alexander Solzhenitsyn and Varlaam Shalamov, whose personal relations evolved from the attempts of cooperation to open tough opposition. Analyzing their personal biographies, the prison-camp experience, the value system and the depth of immersing into the theme, the author investigates the differences in the world-view of the two writers and explains the diversion of their views.

Semantics of the Qur’anic Weltanschauung

2009 ◽  
Vol 26 (4) ◽  
pp. 1-23
Author(s):  
Abdul Kabir Hussain Solihu
Keyword(s):  
Analytical Study ◽  
Semantic Analysis ◽  
Semantic Theory ◽  
Linguistic Relativity ◽  
Semantic Approach ◽  
Semantic Fields ◽  
The World ◽  
Key Concepts ◽  
Theological Perspective ◽  
Speakers Of Other Languages

This paper examines the structural semantic approach based on the theory of linguistic relativity to scriptural language as exemplified in Toshihiko Izutsu’s studies of the Qur’anic weltanschauung. According to this theory, each language contains a particular worldview that causes its speakers to view the world in a way different from the speakers of other languages. By an analytical study of the semantic fields and contextual use of the Qur’an’s key conceptual terms, Izutsu explores the semantic factors believed to have been employed by the Qur’an in its Islamization of the jahili (pre-Islamic Arab) worldview. Such an approach exhibits that the Qur’an’s linguistic vision of reality is internally coherent but culturally and historically conditioned. Following a textual analysis, this study critically examines, from both an ethical and a theological perspective, the semantic theory that Izutsu applies to the Qur’an’s key concepts in his two works: God and Man in the Qur’an and Ethico-Religious Concepts in the Qur’an. The objective is to investigate the extent to which semantic analysis could enrich our understanding of the ontological problems raised in the Qur’an.

scholarly journals COGNITIVE-SEMANTIC ANALYSIS OF THE NOMINATION "EYE, TO SEE" IN THE KAZAKH LANGUAGE

2020 ◽  
Vol 73 (3) ◽  
pp. 86-101
Author(s):  
B. Kassym ◽  
Keyword(s):  
Visual Perception ◽  
Semantic Analysis ◽  
Cognitive Model ◽  
Human Perception ◽  
Human Mind ◽  
Word Formation ◽  
Semantic Features ◽  
Active Perception ◽  
The World ◽  
Cognitive Semantic

The article examines the role of word formation semantics for cognitive language research, for studying the cognitive model, the picture of the world. Based on the material of the modern Kazakh language, a semantic and cognitive analysis of etymologically related Turkic languages ​​with the root: КӨЗ, КӨРУ is carried out. Semantics plays an important role in the nominative process, which captures the peculiarities of human perception of the world, the specifics of the cultural and historical experience of a given nation. Cognitive-semantic models formed by these verbs represent cognitively highlighted fragments of the surrounding reality, fixed in the human mind. In derived words (motivated on a given synchronous slice of the language, preserving their internal form), such conceptual information is expressed explicitly. The analysis revealed the specific semantic features of these verbs, including fixing and active perception. As you know, in all languages, the semantic spectrum of the verbs of visual perception is wider than that of other verbs of perception, because “it is visual perception that is the most active way of understanding and understanding the world.

scholarly journals THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S

2021 ◽  
Vol 58 (58) ◽  
pp. 65-95
Author(s):  
Oleh Kopeliuk
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
Semantic Analysis ◽  
Historical Memory ◽  
Point Of View ◽  
Modern World ◽  
Wide Range ◽  
The World ◽  
Piano Cycle ◽  
Cycle 24

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

scholarly journals COLOR MENTALITY IN THE MIDDLE AGES: principles of medievalist cognitive-quantitative comparative reconstruction (based on Old High German and Middle High German texts)

2021 ◽  
pp. 3-12
Author(s):  
Oleksandr Ohui ◽  
Olga Ivasiuk ◽  
Halyna Ivasiuk
Keyword(s):  
Middle Ages ◽  
Quantitative Methods ◽  
Semantic Analysis ◽  
Middle High German ◽  
Old High German ◽  
Theoretical Concepts ◽  
Parts Of Speech ◽  
The World ◽  
Comparative Reconstruction ◽  
The Middle Ages

The article focuses on theoretical concepts and their inter categorical interaction in the process of medieval cognitive-quantitative comparative reconstruction of color mentality in the Middle Ages. The authors point out that the reconstruction of the mentality of this period, which represents part of the culture, should be guided by a holistic method using formalized-quantitative methods, as deep symbolism permeated the lives of speakers of the German Middle Ages at all levels. The article also states that to describe the mentality as an expression of culture, it is advisable to choose important linguistic and cultural categories such as separate modules (eg, color notation) in the language picture of the world. The article notes that both in the texts and in the dictionaries the language picture of the world is represented by words and phrases grouped by semantics into multi-part lexical-phraseological fields. The authors of the article found that the reconstruction covers all linguistic means related to different, as a rule, the main parts of speech, which reflected historically the ancient syntagmatic thinking and its syncretism. Reconstruction as a process and result of hypothetical reproduction or establishment of certain, mostly non-existent characteristics of the medieval mentality is proposed to be carried out on three levels: 1) through the analysis of literary remembrances; 2) through the analysis of certain patterns of the language picture of the world; 3) through etymological and semantic analysis of words. At the same time, the article proposes to consider the holistic paradigm as the basis of the "new philology", which is defined as a combination of linguistics and literary studies, culturology, logic, ethnolinguistics and psychology. In the future, a comprehensive study of Old High German and Middle High German words according to these principles and using formalized quantitative methods will help to determine not only their linguistic and cultural peculiarities, but also to establish objectively the language picture of the world of the Middle Ages on the background of its culture.

scholarly journals Design and Evaluation of Outlier Detection Based on Semantic Condensed Nearest Neighbor

2019 ◽  
Vol 29 (1) ◽  
pp. 1416-1424
Author(s):  
M. Rao Batchanaboyina ◽  
Nagaraju Devarakonda
Keyword(s):  
Social Media ◽  
Outlier Detection ◽  
Missing Values ◽  
Semantic Analysis ◽  
Nearest Neighbor ◽  
Threshold Value ◽  
Semantic Approach ◽  
The Social ◽  
The World ◽  
Social Media Platforms

Abstract Social media contain abundant information about the events or news occurring all over the world. Social media growth has a greater impact on various domains like marketing, e-commerce, health care, e-governance, and politics, etc. Currently, Twitter was developed as one of the social media platforms, and now, it is one of the most popular social media platforms. There are 1 billion user’s profiles and millions of active users, who post tweets daily. In this research, buzz detection in social media was carried out by the semantic approach using the condensed nearest neighbor (SACNN). The Twitter and Tom’s Hardware data are stored in the UC Irvine Machine Learning Repository, and this dataset is used in this research for outlier detection. The min–max normalization technique is applied to the social media dataset, and additionally, missing values were replaced by the normalized value. The condensed nearest neighbor (CNN) is used for semantic analysis of the database, and based on the optimized value provided by the proposed method, the threshold is calculated. The threshold value is used to classify buzz and non-buzz discussions in the social media database. The result showed that the SACNN achieved 99% of accuracy, and relative error is less than the existing methods.

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