An Integrated Approach to Well Logging: The Case of the Bazhenov Formation

New geological structures – displaced blocks of salt diapirs’ overburden – were identified in the axial part of the Dnieper-Donets basin (DDB) beside one of the largest salt domes due to modern high-precision gravity and magnetic surveys and their joint 3D inversion with seismic and well log data. Superposition of gravity lineaments and wells penetrating Middle and Lower Carboniferous below Permian and Upper Carboniferous sediments in proximity to salt allowed to propose halokinetic model salt overburden displacement, assuming Upper Carboniferous reactivation. Analogy with rafts and carapaces of the Gulf of Mexico is considered in terms of magnitude of salt-induced deformations. Density of Carboniferous rocks within the displaced flaps evidence a high probability of hydrocarbon saturation. Possible traps include uplifted parts of the overturned flaps, abutting Upper Carboniferous reservoirs, and underlying Carboniferous sequence. Play elements are analyzed using analogues from the Dnieper-Donets basin and the Gulf of Mexico. Hydrocarbon reserves of the overturned flaps within the study area are estimated to exceed Q50 (Р50) = 150 million cubic meters of oil equivalent.

Carapaces of the Dnieper-Donets Basin as a New Exploration Target

New geological structures - displaced blocks of salt diapirs’ overburden - were identified in the axial part of the Dnieper-Donets basin (DDB) beside one of the largest salt domes due to modern high-precision gravity and magnetic surveys and their joint 3D inversion with seismic and well log data. Superposition of gravity lineaments and wells penetrating Middle and Lower Carboniferous below Permian and Upper Carboniferous sediments in proximity to salt allowed to propose halokinetic model salt overburden displacement, assuming Upper Carboniferous reactivation. Analogy with rafts and carapaces of the Gulf of Mexico is considered in terms of magnitude of salt- induced deformations. Density of Carboniferous rocks within the displaced flaps evidence a high probability of hydrocarbon saturation. Possible traps include uplifted parts of the overturned flaps, abutting Upper Carboniferous reservoirs, and underlying Carboniferous sequence. Play elements are analyzed using analogues from the Dnieper-Donets basin and the Gulf of Mexico. Hydrocarbon reserves of the overturned flaps within the study area are estimated to exceed Q50 (P50) = 150 million cubic meters of oil equivalent.

Games and rituals are the most important means of social interaction in human society

The article comprehensively investigates the phenomenon of play and its relationship with cultural and social categories such as ritual, ritual, customs, and traditions based on folklore and ethnographic materials of the Kazakh and Turkic peoples. Game culture as the most active means of cultural and social interaction in society, deeply rooted in all spheres of human life, is an integral element of the development of modern society. Folk customs and traditions are reflected in religion, arts, crafts, politics, science, military sports games, education, upbringing, economics, and entrepreneurship. The game, reflected in public life, affects socio-cultural activity, diversity in diversity, the transformation of concepts, and the future development of society. The article defines the ontological meaning and archetypal basis of the interaction of games and socio-cultural processes of our time, identifies the general attributes and originality of games. The manifestation of ancient beliefs in the games of a shaman is illustrated, their role in a specific ritual is revealed, the integration of play elements in the ritual complex, the versatility of the shaman's personality, the relationship between play elements and rituals are traced. The origins of the gaming culture go back to ancient beliefs, magic, cults, family rituals. For example, the youth games "Shivering Baba Baba", "White Storm" and "Hand Trap" recreate the opposition of winter and summer, old and new, young, the relationship between a girl and a boy. Mostly "summer", "new" and "young", "guy" win and win. These game elements, which were once an integral part of the ritual complex, were later combined and separated into a separate game. Each subsequent time they deviate from the original ritual. This tendency can be traced in many national games, the origin of which dates to the period of ritual folklore. The game "Kokpar", extremely popular among the Turkic peoples, is a national equestrian game. The name of the game comes from the "blue wolf" totem. The author of the article conclusively states that during a long hunt, a young man kidnapped a killed (wounded) wolf, the other participants in the game tried to catch him. As a result of the study, it is important to conclude that ritual and play are multifunctional, multilingual, differ not only in their symbolism, but also in how beliefs, religious motives and everyday life are reflected in them. Their ontological, epistemological, and axiological significance and ambivalence are great. The game has always been and remains a universal way of interacting with reality. Traditional ceremonies, games and holidays reflect the cultural component of the people, reveal the nature of the world. The game promotes cultural and moral priorities in the social environment, stereotypes related to age, gender, profession. Today, the game goes beyond the strictly limited framework of traditional ethnocultural phenomena, reflecting the socio-cultural situation, the system of relations and values, changes in human consciousness in the postmodern era. The game is cosmopolitan, sometimes artificial. The game culture, thus, is undergoing radical changes and is experiencing a crisis, which actualizes the need to increase moral values, moral foundations, preservation of the historical roots, and socio-communicative potential of the game culture. This, in turn, contributes to the stability and vitality of human and social life. The article was prepared within the framework of the grant project of the Science Committee of the Ministry of Education and Science of the Republic of Kazakhstan AP08856460 "Great steppe games (game folklore): the role of national games in the revival of public consciousness as a special cultural phenomenon".

Play Elements as Mechanisms in Intergenerational Arts Activities to Support Community Engagement with End-of-Life Issues

Talking about dying, death, and loss may be difficult. Arts offer alternative ways of engaging with end-of-life (EoL) issues, but little is known about the means through which this occurs. In this article, we aim to explore mechanisms in arts activities that support community engagement with EoL issues, based on the community-based participatory action research project Studio DöBra. Studio DöBra was developed to support community engagement with EoL issues through intergenerational arts workshops involving community partners, children, and older adults. Initial analysis with community partners indicated the importance of play elements in arts activities. Continued analysis was therefore abductive, using play theory and qualitative data from Studio DöBra arts activities. Through iterative examination of theory and data, we modified play theory as we identified mechanisms supporting community engagement with EoL issues in arts activities. Findings can contribute to theory-building that can inform arts activities supporting community engagement with EoL issues.

“My Games are … Unconventional”: Intersections of game and BDSM studies

This article examines connections between games and BDSM (consensual bondage and discipline, dominance and submission, and sadism and masochism), theoretically speaking (in their respective research areas) as well as in practice. A common grounding behind these connections is the consideration of play as a foundational component in games and game studies as well as in BDSM practices and the studies of BDSM as a cultural phenomenon. We identify five sets of relevant connections. First, there are direct comparisons between the two types of play. Second, several live-action role-playing games have been made about BDSM, or for BDSM. Third, many other games have borrowed ideas from BDSM, as well, as have some BDSM activities, in turn, from games and play. Fourth, queer game studies frequently discuss subversive and transgressive play practices, which provide a fruitful context for analyzing play elements in BDSM, and BDSM-inspired elements in games. And fifth, both games and BDSM are frequently discussed in the research contexts related to performance, theater, and rituals, which forms a potential bridge between these activities. Through this five-strand exploratory analysis, we show how deeply interconnected these two realms are, even if the connection is only rarely mentioned, and to this date, not fully recognized as a valid research topic.

Satyrs, spirits, and Dionysian intemperance in Shakespeare’s Tempest

The article focuses on the rebellious subplot of William Shakespeare’s The Tempest that forms around Caliban, Stephano, and Trinculo, and reads it as a satyr play. Demonstrated is how the Dionysian subplot stands in close analogical connection with the play’s main action. It is also argued that the storyline emphasises a dimension of the play that is of high relevance to the analysis of its metatheatrical implications. The correspondences between the main action and the satyr play elements highlight the important role that intemperance, excess and the suspension of control play in the Shakespearean theatrical setting.

The conceptual metaphor of play in P. Handke’s short novel «The Goalie's Anxiety at the Penalty Kick»

The paper focuses on determining the peculiarities of the conceptual metaphor of play in Peter Handke’s short novel «The Goalie’s Anxiety at the Penalty Kick». The modern humanitarian discourse views the metaphor not only in its narrow sense (as a means of literary expressiveness) but also in the wide one – as a way of thinking and perception of the world around, which enables defining specific textual strategies aimed at interpreting complex, abstract, and principally incomprehensible concepts with the help of comprehensive, understandable, and mainly visual images. In P. Handke’s novel, the play acquires an ontological status developing into a multi-layer conceptual metaphor and functions as a key to understanding meanings on different levels of text organization – paratextual, informative, compositional, figurative, symbolic, and stylistic ones. The analysis conducted testifies that the play elements and devices can be found in various processes, activities, and people’s behavior because the category of play appeals to universal concepts, such as order, choice, pleasure, strive for results, etc. The play is realized as a complex integrity of worldview characteristics, unity of action, consciousness and communication. In P. Handke’s novel, the play is a model of self-cognition and a strategy of the character’s communication with the world. Since the P. Handke’s novel presents a type of a new subjective protagonist, who is usually a person alienated from the social environment, it is the play that is able to replace the usual behavioral practices and stereotypes in his mind. The play aspect serves as a means of constructing the literary world and helps to convey philosophical ideas. As a conceptual metaphor, the notion of play is actualized in the novel in order to explain complex abstract concepts: a crisis of a person or understanding of human relationships in the modern world. The play discards the principles of determinism and hierarchy being a guarantee of creative freedom and polivariability of events. In addition, the category of play generates an ironic attitude to the surroundings. The play does not intend to stick to reality, but rather to concentrate on urgent problems and stereotypes. The story of Joseph Bloch is a story of growing alienation from reality, exclusion of a person from the social community which has become impossible to comprehend. The play motifs of escape, silence, hide-out, and wordplay are signs of ironic self-identification. The character’s mind reconsiders the values, which highlights the distinct opposition of civilization and nature, rational and mythological, biological and physiological, male and female, etc.