COMPILATION AS A COMPOSITION APPROACH OF CONTEMPORARY ART SCHOOL

It is impossible to create something new in science and art, without first absorbing the experience, knowledge, skills of scientists and artists of the past generation. Even the most original, progressive, and innovative ideas are, in fact, a compilation of previous experience. The compilation technique is one of the main and effective tools of the scientific world. It is also actively used in the creative process of musicians, writers, and filmmakers. The compilation technique is a fairly common phenomenon in the scientific world and art in general, at the same time, its level can be very different, ranging from direct plagiarism to forms of synthesis, the traces of which are very difficult to detect. There are separate genres in art, based on compilation, for instance, a «remake» in cinematography, a «potpourri» in music, a «historical analog» in visual art, and an «artrunion» in literature. Meanwhile, compilation, as one of the forms of the artist's creative method, is a very "delicate" and "vulnerable" matter, sometimes causing a lot of controversy among specialists, since there is no tool that could accurately measure the degree of compilation bordering on plagiarism. If in the scientific world author indicates a list of compilation material, writing an article, then in case of an artist, we will not see it due to specifics of his work. The path of an artist, in terms of the embodiment of an artistic conception, is in many ways spontaneous, and intuitive. On this path, it is very difficult for him to isolate his authorship from the experience of other artists, and as a result, his work is a kind of conglomerate of synthesis. In our study, we consider the compilation technique mainly on the example of the methods of a children's art school work, taking into account the age of a student. At the same time, the compilation technique is a universal method of composition that can be effectively used by teachers in the creative development process. Meanwhile, the compilation technique is a frequent subject of disputes during the competitive selection of creative works and today requires a deeper analysis and public discussion.

The Katateeb Al-Bidoon Initiative: Repurposing the Past to Build a Transformative Future

The Katateeb al-Bidoon initiative was an after-school teach-in combined with a series of government protests against the sudden expulsion of stateless Bidoon children from any official Kuwait school. Considered illegal residents, the Bidoon status in Kuwait has deteriorated over the past generation, and their exclusion from Kuwait society is nearly complete. Regardless, many educational activists and teachers still continue to support Bidoon access to education, and the Katateeb al-Bidoon initiative is one example of their work. The name Katateeb refers to the archaic casual school system that was prevalent in Kuwait before the era of oil urbanization. Though its lifespan was one brief semester, from October 2014 to February 2015, a close examination of the initiative provides insight into how an improvised pedagogy based on an educational model from the past can develop beyond expectations and support a transformative future.

Research Insights: How Do Longer School Days Affect Students' Economic Well-Being in Adulthood?

Many Latin American countries and cities have substantially lengthened the school day over the past generation. Chile, for example, increased the school day by 30 percent between 1997 and 2010. While evidence on lengthening these additional instructional resources points to positive effects in the short term, we know little about whether these reforms affect students long-term economic outcomes once they enter the labor market. This project finds longer elementary and secondary school days substantially improve economic well-being by increasing educational attainment, delaying childbearing, and increasing earnings in young adulthood.

Early Italian Lyric

In order to examine the relationship between Dante and the early Italian lyric, this chapter focuses on two key moments of Dante’s rewriting of his own story as lyric poet: first in the Vita nuova, which traces the relationship to fellow poet Guido Cavalcanti, and second in the encounters with Bonagiunta da Lucca and Guido Guinizzelli in Purgatorio XXIV and XXVI, which redefine the roles of the major poets of the past generation. These passages are less ambiguous than has often appeared: they doubtless intend to promote Dante’s poetic choices and literary authority, but they also testify to objective developments in the history of vernacular love poetry.

Romance e Shoah Pratiche di narrazione sulla tragedia indicibile

Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.

The rise of illiberal memory

The essay seeks to explain how and why rightwing populists in Europe, North America, and beyond have developed an “illiberal” politics of memory in opposition to the global liberal memory culture of the past generation. After explaining the rise of “illiberal memory” as a byproduct of the rise of illiberal democracy since 2008, the essay advances a comprehensive typology of the movement’s overall objectives and tactics based on numerous empirical examples from different nations, including Germany, Russia, the United States, Israel, and India. It concludes with some reflections about how illiberal memory is likely to evolve in the future. The essay is the first to advance the concept of “illiberal memory” and present an overall theory of its origins and agenda.

The Farm Lobby and Agricultural Policy in Japan

Japanese agricultural policymaking has been changing over the past generation. For much of the postwar era, policy formulation fell under the purview of the powerful “farm lobby”—an iron triangle consisting of farm bureaucrats, conservative politicians, and Japan Agricultural Cooperatives (JA), a nationwide network of agricultural cooperative organizations. For the most part, the lobby prioritized the heavy subsidization of farm household incomes and other market-distorting redistributive measures. But by the end of the twentieth century, severe demographic and economic challenges in the countryside combined with new electoral rules to weaken the relative powers of the farm lobby and generate a gradual shift toward structural reform in the farm sector. In tracing these policy-related developments, which reached new heights during the second administration of Shinzō Abe, this chapter illuminates the significance of the organized farm vote, the empowerment of prime ministerial leadership, and the changing fortunes of agriculture in Japan.

Physical Collections and the 21st-century Theological Library

Collection management in libraries has changed over the past generation in libraries and will undoubtedly continue to do so. In a world of e-books, physical space pressure, consortial reciprocal borrowing, blossoming journal prices, shrinking monograph budgets, and declining print circulation, what is the role of the physical collection in a religious studies or theological library? In this panel discussion, three librarians from various types of religious libraries explore this question through their respective institutional contexts.

Book Review: A Column of Cloud and a Column of Fire: Dimitris Lyacos’ Poena Damni

One of the most original and significant texts to have come out of Europe in the past generation is Dimitris Lyacos’ poetictrilogy, Poena Damni. I call it “poetic” because there is no word that quite describes a work that moves alternately betweenpoetry, prose, and drama, and that turns each like a prism in a quest for meaning that yields no final stability but only a“further horizon of pain” (The First Death, Section X).As the above suggests, the text offers us a shifting series of scenes and perspectives, somewhere between a journey and atravail. There is an implicit narrative voice, but no narrative, that shifts abruptly from first to third person, a thread ofconsciousness that weaves in and out of dream and waking, fantasy and vision, confronting us at every turn with that whichboth forces and repels our sight. You know there is a narrative, because something in the voice compels you to continue; yousimply do not know what is being told. You are simply within the framework of a temporality in its most radical sense.Dimitris Lyacos was born in Athens in 1966, and studied law and philosophy. It was conceived back to front, with its“last” part, The First Death, written and published first, and the other segments proceeding backwards toward an origin thatinstates the original wound of the poem’s birth. Lyacos has revised it extensively over the course of some thirty years,retracting an earlier version of what is now With the People From the Bridge that was originally published as Nyctivoe andheavily revising the text called Z213: EXIT. The suggestion, I think, is clear: the poem remains open, a circularity thatdeflects all progression, an ourobouros that never meets its own tail.