Simulation of Creative Manifestation by Functional Ensembles of Intellectual Agents Based on Live Information in Various Spheres of Life Activity

Neural networks with deep learning and reinforcement are able to compose poetry and music, draw paintings, and write short stories, as well as come up with scripts for films. Functional ensembles of harmoniously interacting intellectual agents with living information can virtually model creativity for various spheres of life activity. Virtual modeling of creativity by harmoniously interacting intellectual agents is carried out based on living creative processes represented by acts of creation accumulated by humanity in a certain sphere of life. Live information of creative acts of creation for functional ensembles from harmoniously interacting intellectual agents is revealed from the effective creative practice of specialists in specific conditions and presented in the format of smart ethical communicative-associative cases. To model creativity, a virtual environment of a certain sphere of activity is formed, in which the ensemble gives birth to a creative fruit according to the plan of a specialist. Functional ensembles of harmoniously interacting intellectual agents with live creative practice can cooperate with a person, and can also independently virtually model the creative creation of new designs of a specialist, if the ensemble has enough acts of creation.

„W półsłowa” i „w półdźwięku”… O relacji Zygmunta Krasińskiego i Fryderyka Chopina

The article presents the relationship between Frédéric Chopin and Zygmunt Krasiński both on the biographical level and in the relationship between the word and the sound that Krasiński often wrote about in his letters. A special expression of the dialogue between poetry and music described by the poet are Chopin’s compositions to the words of poets contemporary to him, which is especially true about the words of the motto from Krasiński’s poem Ostatni (The last poem). It is extraordinary in the context of Chopin’s songs as it is not only a musical illustration, but also a sophisticated interpretation of the text through music. The attempts to present poetic content through musical notation presented in the article lead to the conclusion about Chopin as a conscious recipient of a literary work who, like Krasiński, saw in the symbiosis of word and sound the possibility for expressing internal experience.

Juan del Encina’s Nativity Eclogues: A New English Translation

Juan del Encina has long been recognized as a crucial figure in Iberian drama, yet few of his works have been translated into English. Encina wrote plays, poetry, and music in the late fifteenth and early sixteenth centuries, and scholars have traditionally regarded Encina’s writing as a turning point in early Spanish drama, both because of the secular material included in his plays and because Encina supervised the publication of his own works. He is also credited with contributing to the professionalization of Spanish theater by depicting the court of his patrons, the Duke and Duchess of Alba, as a site of theatrical performance. Encina’s innovative dramas interweave courtly, religious, and pastoral drama with metafictional elements. Atiya presents translations of two plays included in Encina’s 1496 Cancionero, a printed compilation of poetic, dramatic, and musical works.

Translating psalms for Africa today: Involving the community and transmitting through performance

Psalms, being poems, need to be translated as poems using the poetic features of the receptor language. Official translators are not always poetically sensitive, but many community members are highly skilled word-artists, keen to participate in the translation process. Further, poems are always performed before an audience, and thus translated psalms need to include performance features as part of the translation. These two aspects of translating psalms offer advantageous possibilities for those translating biblical poetry. The notion of community involvement challenges the idea of ‘authority resting with the trained translators or consultant’, but the Skopos Theory reminds us that there can be many translations of a psalm, serving different purposes. This article describes the results of an empirical study including Zulu youth (interested in poetry and music) in the translation of some praise psalms. The idea of interpreting and communicating psalms as oral performances was also tested by presenting the translations as performances before an audience. Four Zulu youth groups participated in the study, each spending five days learning the principles of translation, poetic devices (in Hebrew and isiZulu), features of local music and oral communication style. They studied, translated and presented through oral performance three praise psalms before an audience of adults and peers. The isiZulu translations were evaluated primarily using Wendland’s criteria for a literary-rhetorical translation (viz. artistry, aurality and acceptability), but attention was also given to the traditional criteria of faithfulness to the Hebrew, naturalness and clarity. Many of the translations showed creativity balanced with accuracy and gave insights into the exegesis of the psalms. They also used traditional rhythm and features of local poetry and music, and engaged the audience using aspects of performance art. The study highlighted the opportunity available to a translator of psalms to engage local oral artists to participate in the process, either in a parallel project which can feed into the official project, or as a valuable means of Scripture Engagement. Being able to experience the translation process and present psalms in a way meaningful to the local culture has many advantages which need to be explored.Contribution: Engaging the local community in a significant way is key to the success of a translation project. Beyond simply being ‘reviewers’, this methodology offers opportunity for greater involvement in the translation of poetry. Further, using oral performance to present psalms actively, engages the community, resulting in far higher acceptability, memorability and perceived relevance.

Culture and the arts

The later Middle Ages as a cultural period has been shaped by the Burckhardtian tradition: Burckhardt drew a sharp distinction between the ‘medieval’ outlook he believed had prevailed north of the Alps and the ‘rebirth’ of classical antiquity he saw taking place in the Italian peninsula. Over the past 60 years, however, the validity of such a contrast has been called into question. As a consequence, it is now generally accepted that the fourteenth and fifteenth centuries were characterized more by diversity than by division. This chapter examines how, in every field of cultural endeavour, from painting and sculpture to poetry and music, there emerged a series of quite different, often heterogeneous trends. Originating in different parts of Europe, these were transmitted across the continent, where they interacted with parallel developments elsewhere. The effect was less that of a concerto than of a rich and discordant symphony of competing voices.