Fission and Fusion Solutions in the (2+1)-Dimensional Generalized Calogero-Bogoyavlenskii-Schiff Equation

Fission and fusion are important phenomena, which have been observed experimentally in many physical areas. In this paper, we study the above two phenomena in the (2+1)-dimensional generalized Calogero-Bogoyavlenskii-Schiff equation. By introducing some new constraint conditions to its N-solitons, the fifission and fusion are obtained. Numerical figures show that the two types of solutions look like the capital letter Y in spacial structures. Then, by taking a long wave limit approach and complex conjugation restrictions, some hybrid resonance solutions are generated, such as the interaction solutions between the L-order lumps and Q-fifission (fusion) solitons, as well as hybrid solutions mixed by the T-order breathers and Q-fifission (fusion) solitons. Dynamical behaviors of these solutions are analyzed theoretically and numerically. The results obtained can be helpful for understanding the fusion and fifission phenomena in many physical models, such as the organic membrane, macromolecule material and even-clump DNA, plasmas physics and so on.

ANDREI SERGEEVICH MONIN (AS WE REMEMBER HIM)

This article publishes the memoirs about Andrei Sergeevich Monin – an outstanding scientist in geophysics, oceanologist, public figure, doctor of physical and mathematical sciences (1956), professor (1963), academician of the Russian Academy of Sciences (2000), director of the of the Shirshov Institute of oceanology of RAS in 1965–1987. A.S. Monin was not only a brilliant scientist (theoretician and practitioner), not only a talented leader and organizer of scientific research, which made it possible to bring oceanology in our institute, and in the country as a whole, to a new – higher – level, but also an interesting, outstanding person. Personality with a capital letter. And we, the authors of this article, are proud that we knew Andrei Sergeevich personally and worked with him.

#eiku – itsekorjauksesta moniäänisyyteen

Artikkeli käsittelee suomen kielen eiku-partikkelia, joka on puhutussa keskustelussa yleinen omaan tai toisen vuoroon kohdistuvan korjauksen aloituskeino. Tutkimuksessa tarkastellaan eiku-partikkelia kirjoitetussa keskustelussa. Aineistona käytetään Twitteriä, josta on kerätty yhteensä 760 julkista twiittiä hakusanoilla eiku tai #eiku. Analyysissä käy ilmi, että eiku-partikkelia käytetään Twitterissä osin samanlaisissa tehtävissä kuin puhutussa keskustelussa, esimerkiksi toisen keskustelijan vuoroon kohdistuvien korjausvuorojen alussa. Tällaista vuoroa voidaan käyttää sekä vilpittömään että humoristiseen korjaukseen. Viestin sisällä eiku-partikkelilla voidaan rakentaa puhutun keskustelun itsekorjausta imitoiva, humoristinen itsekorjaus. Esiin nousee aiemmassa tutkimuksessa tuntematon tapa käyttää eiku-partikkelia puheenvuoron lopussa, jolloin partikkelia seuraava korjaus jää implisiittiseksi, lukijan pääteltäväksi. Erityisesti tällöin eiku-partikkelista on tavanomaista muotoilla hashtag #eiku; loppuasemainen #eiku-hashtag on tutkimusaineistossa yleisin eiku-partikkelin käyttötapa. Typografisesti variantit eroavat toisistaan erityisesti siinä, että loppuasemainen eiku-partikkeli kirjoitetaan tavallisesti isolla alkukirjaimella ja sen jälkeen voidaan lisätä affektia ilmaisevia pisteitä tai sanallinen lisäys, kun taas #eiku-hashtag kirjoitetaan lähes poikkeuksetta pienellä alkukirjaimella viestin viimeiseksi elementiksi. Kumpikin variantti erotetaan muusta viestistä edeltävän virkkeen lopettavalla välimerkillä ja mahdollisesti kappaleenvaihdolla. Kirjakielisemmän eiku-partikkelin yhteydessä ei käytetä emojeita tai hashtageja. Sosiaalisen median erikoiskieltä ilmentävän #eiku-hashtagin yhteyteen niitä voidaan lisätä. Loppuasemainen #eiku toimii Twitter-keskustelussa konventionaalistuneena metapragmaattisena kommenttina, jolla kontekstualisoidaan ei-vakavuutta, moniäänisyyttä ja ironiaa. #eiku-hashtagiin päättyvällä viestillä voidaan käsitellä moraalisia rajoja sekä ilmaista keskustelussa huumoria ja yhteisöllisyyttä tai kritiikkiä sosiaalisessa mediassa esillä olevaa uutisaihetta kohtaan.#eiku – from self-repair to polyphonyThis article analyses the Finnish particle eiku, which is a common expression for initiation of self-repair or other-repair. The data used in the study is of written conversation, collected from Twitter with the search terms eiku and #eiku. The data consists of 760 public tweets. Through the analysis is shown that, the eiku particle on Twitter may be used partially as in spoken interaction, for example in initiation of other-repair. Such a turn may be used for sincere or humorous repair. Within a single tweet, the eiku particle may appear as a vehicle for expressing self-repair in a humorous sequence, imitating the self-repair of spoken language. Another discovery that arises in the study is the turn-final use of the particle eiku. When the particle is used at the end of a turn, it leaves the repair followed by the particle implicite, for the reader to discover. Turn-finally, it is most common to use the hashtag #eiku; in the data, the turn-final use of #eiku appears the most common usage of the particle at hand. The two variants (eiku, #eiku) have some typographically significant differences. Firstly, the turn-final eiku is usually written with a capital letter and is followed by several commas implicating emotion, or by a lexical addition. However, the hashtag #eiku usually appears at the very end of a tweet, written with a non-capital letter. Both variants tend to be separated from the preceding text with sentence-final punctuation and even change of paragraph. Moreover, no emojis or hashtags are used with eiku, which appears more literary of the two variants. On the contrary, #eiku may be accompanied by such features typical of social media. On Twitter, the turn-final #eiku appears conventionalized as a metapragmatic comment. The hashtag #eiku is being used to contextualize non-serious stance, polyphony and irony. A tweet with turn-final #eiku discusses moral boundaries and in conversation, is used to express humour, togetherness or critique towards a news topic presented in social media.

ON THE QUESTION OF SOME WAYS TO VERBALIZE THE IMAGE OF MOTHERLAND IN S.A. YESENIN’S WORKS

This article aims to identify ways of verbalization of the image of the Motherland in S.A. Yesenin’s poems and to analyze the possible individual author's features of including of these elements into the text by the author. The feeling of Motherland is at the heart of the worldview of S.A. Yesenin, Motherland is the source from which he draws strength. Yesenin and Russia - the relation of these words is indissoluble. Such an attitude to Motherland could not fail to find realization in the poet's work, and we see that S.A. Yesenin's poems are filled with love for Motherland - for Russia, for Ryazan. The purpose of the proposed research is an attempt to consider with the help of which lexemes the author verbalizes the image of Motherland in his work. After the analysis we came to following conclusions: for explication of the image of motherland poet uses lexemes homeland, Russia. The lexeme motherland is used by the author in this spelling, without using a capital letter. Such a spelling, in connection with traditions, denotes the homeland as the place of birth, and not the country as a whole. We believe that the use of the lexeme motherland in the variant of writing with a small letter is due to the division of Motherland into large and small in the poet's picture of the world; for S.A. Yesenin motherland is Russia, to which so much attention is paid in poet's works. As an individual author's features of the verbalization of the image of motherland we can also note the use of the lexeme Rus ’ which was used to designate the territory of the Old Russian state. We believe that this use is associated with the poet's desire for imagery, typical of the representatives of the imagism movement, to which S.A. Yesenin belonged. Also for the verbalization of the image of the motherland author uses the lexemes Raseya, Rasseya; in addition, when analyzing the texts of poems, it is possible to distinguish all sorts of descriptive turns that explicate the image of the motherland in the picture of the world of S.A. Yesenin.

Marking Ends of Sentences in Middle of the 17th centuryʼs Church Slavonic Text

The article deals with the punctuation of Church Slavonic texts in the mid-17th century and the process of forming a sentence as a unit of written text that begins at this time. First of all, it is shown that the rules for the marking sentence boundary are described in the Grammar of 1648: this is the use of the dot sign and the use of a capital letter after it. Examining the translation of Blau’s Atlas made in the second half of the 50s in Moscow, we find that both the translators and the scribes of the whitewash copies sought to comply with these new norms. The result of the activity of the scribes influenced the punctuation of Church Slavonic printed books of the second half of the 17th century.

A New Type of National Character as Depicted in with Capital Letter M. Magauin’s Novel «Sary Kazakh»

В статье рассматриваются вопросы проявления национального типа сознания в художественном характере главного героя романа М. Магауина «Сары қазақ». Определение новизны типа положительного героя тесно связывается с отражением в его образе философии истории казахского народа. Автор романа через характеросложение репрезентирует в реальном социальном пространстве современности процесс восстановления разорванных духовных связей казахского народа с культурно-историческими традициями прошлых веков. Национальный характер раскрывается не только в изображаемых конфликтах, но и с обязательным условием соотнесения поступков и мыслей персонажа с реалиями и феноменами национально-народного, общественного бытия в большом историческом времени. Всем строем сюжетно-композиционной организации романа писатель уверенно доказывает закономерность представленной диалектики художественного характера вымышленной исторической личности, убеждает, что изображенное возможно, могло быть, и тем самым совмещает свой эстетический идеал с историческими задачами, стоящими перед казахстанским обществом сегодня

La expresividad del cuerpo y la comunicación gestual en el baile flamenco

El arte flamenco se escribe con mayúscula. De una tradición anclada al pasado podríamos encontrar su explicación actual a través de pasajes de la mitología antigua, al igual que de la herencia de árabes y sefardíes. El presente artículo pretende poner en valor el potencial expresivo del cuerpo y la comunicación gestual en el baile flamenco. Con ello, pies y manos, cara y cabello dibujan el compás en el escenario y permiten diseñar siluetas con el cuerpo como si de un pincel se tratase. Mientras que la expresividad eclosiona con tonos cromáticos que facilita el deleite y la belleza. Un baile que se nutre de objetos para significarlo y el bailaor o bailaora se vale del zapateo para hacerse, también, en músico que lleva el compás, comunicando según su intensidad o velocidad de ejecución. El cuerpo en el baile flamenco y la comunicación gestual es un pretexto para iniciar un debate que no concluye sino que se nutre de la herencia y camina, evolucionando, hacia un presente con futuro. Flamenco art is written with a capital letter. From a tradition anchored in the past we could find its current explanation through passages from ancient mythology, as well as from the heritage of Arabs and Sephardim. Everything gives us to understand the expressive value of the body and the gestual communication in the flamenco dance. Body and face, hair and hands draw the compass on stage. They allow to draw silhouettes that take the compass taking as a brush the body and its expressiveness hatches with chromatic tones that facilitate the delight and the beauty. A dance that is nourished by objects to signify it and the dancer uses the zapateo to become, also, a musician who carries the compás and communicates according to its intensity or speed of execution. The body in flamenco dance and gestural communication is a pretext to start a debate that does not end, but is nourished by heritage and walks, evolving, towards a present with a future.

СЛОВО ОБ УЧИТЕЛЕ (К 90-летней годовщине со дня рождения Заслуженного деятеля науки РФ, доктора медицинских наук, профессора, академика РАЕН и МАИ, почетного профессора КГМУ, заведующего кафедрой оперативной хирургии и топографической анатомии Альберта Дмитриевича Мясникова)

The article is dedicated to Albert Dmitrievich Myasnikov - Professor, Doctor of Medicine, Head of the Department of Operative Surgery and Topographic Anatomy of Kursk State Medical University, Academician of the Russian Academy of Natural Sciences and the International Academy of Informatization. Albert Dmitrievich is a scientist and teacher with a capital letter. In addition to the huge scientific heritage that he left to medical science, A.D. Myasnikov has trained several generations of outstanding doctors and scientists.