FEAUTURES OF LANDSCAPE DESCRIPTION IN ZHIYENBAI IZBASKANOV'S LYRICS

The article studies the descriptive features of landscape lyrics by the poet Zh. Izbaskanov. Based on the analysis of a number of poem of the poet beautiful aesthetic service of landscape images are revealed. Depending on the genre of characteristics of landscape imagery have been identified. The poet’s ability to create an objective image is analyzed on the basis of landscape poems. In the lyrics of the poet, the uniqueness of artistic thought and poetic thinking are studied. KEYWORDS: Karakalpak literature, Modern Karakalpak poetry, Zh. Izbaskanov, Landscape lyricism, lyrical protagonist

Greenway Cyclists’ Visual Perception and Landscape Imagery Assessment

Greenway is a kind of corridors in the city that takes natural elements as the main constituent foundation and connects open spaces with functions such as leisure and recreation. The assessment of the built greenway is a review of the past construction experiences, and it is also a supplement and improvement to the future greenway planning concept system, which has important academic and application value. This study will explore how greenway design factors influenced the local cyclists’ perception of the landscape using on-site questionnaire and photo rating method. The results indicated that greenways with continuous cycling paths, high security awareness, open landscapes, and rich human activities evoke positive perceptions. Among the visual elements, natural elements such as plants and sky are more favorable than artificial elements. The research results show that the formation of greenway cyclists’ landscape imagery is affected by visual perception elements, which suggests that special consideration should be given to the laws of cyclists’ mental perception when designing greenways.

The Construction and Validation of a Sustainable Tourism Development Evaluation Model

As climate change, food crises, sustainable development, and ecological conservation gain traction, the revival of traditional fishing villages has become an important governmental policy for Taiwan. To reduce cognitive bias, the choice experiment method was applied to construct an attribute function in fishing village tourism coupled with virtual reality headsets. Conditional logit and random parameter logit models were employed to estimate tourism utility functions. Moreover, a latent class model was employed to determine whether hetxerogeneous preferences regarding fishing village travel existed. The sampling sites were distributed across the Dongshi area. In total, 612 tourists and 170 local residents were interviewed. After incomplete questionnaires were removed, 816 valid questionnaires remained, representing 95.83% of the total questionnaires. Older residents and residents with shorter histories of education were inclined to increase land development and utilization by reducing natural landscapes; tourists preferred preserving landscapes and preventing land development. Residents with more education believed that local landscape imagery was essential. Tourists who were more educated, with high incomes, and those who were older believed that a selling platform incorporating local industries and products within the villages would be attractive for other tourists.

Drawing: Practice and politics

This article focuses on my recent pen and ink drawings, which are multi-panelled works on paper dealing with wars, migration and political themes. They are contextualized in relation to a long career of disruptive themes, as well as the critique and celebration of cities and places through the employment of architectonic, mechanistic and landscape imagery. They are intended to function as visual metaphors for social, cultural and historical narratives. My subject-matter and the deliberate referentiality of drawn detail and semi-recognizable objects, constructions and spaces are discussed in relation to formal issues of texture, manipulation of space and perspectival ambiguity. These relate to some of the ideas about the strategies of making and the special status and properties of drawing that I formulated in my book The Primacy of Drawing: Histories and Theories of Drawing, 2010. I suggest in conclusion that my life-long commitment to the austerity and economy of drawing reflects my early training in South Africa.

The Artistic Structure of Perceptive Space in the Story “A Lear of the Steppes” by I. S. Turgenev

This article scrutinizes I. S. Turgenev’s “A Lear of the Steppes” and the artistic structure of its perceptual space. The story, written in 1870, finds its place between the middle and the last periods of the author’s artistic life and combines realistic, mystic, and fantastic features. The purpose of this work is to show the “ambivalent essence” of the protagonist in a composition of visual, acoustic, and olfactory artistic space. These aspects were studied on olfactory codes and landscape imagery. The novelty of the current research lies in comparing the poetics of spatial images to the point of view of the narrator, whose psychoacoustic experiences became the subject of the author’s self-reflection. The story’s sensory space is multilevel: it is concentrated in the “hero of the steppe”, Kharlov, and in the narrator, and for the latter the steppe is both a friendly and a foreign world. The topic of estrangement of a patchy understanding of the motherland is latent and reveals itself in the personal mode of narration. This article also shows that the narrator’s view dominates the visual space; the narrator describes the protagonist’s portrait in terms that are characteristic of the steppe’s landscape. The acoustic and olfactory spaces are also depicted from the point of view of the narrator. The subjective character of the sensory images serves to emphasize the conflict that lies at the basis of the narrative structure of the story whose main two types of characters turn to be a natural national character and a reflecting character molded under the influence of the European culture.

Elements of Photography

This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.