Pelican as an ornithic symbol in Ukrainian culture and arts

The purpose of the article. Investigate the determination of the image of the pelican in Ukrainian culture and art as an original manifestation of national symbolics. Methodology. The research methodology is based on the application of a systems approach in combination with historical-genetic, comparative, and art methods, with the involvement of analysis of sources from the field of Ukrainian symbolism. The scientific novelty lies in the actualization of the study of the symbolic image of the pelican as a nationally specific component of Ukrainian culture. Conclusions. The representatives of the Ukrainian avifauna acquired in the popular imagination the forms of established symbolic images, that entered the space of national folklore through mythological thinking. The penetration of the pelican symbol into the arsenal of fine arts of Ukrainian culture did not pass through the mythological element but was borrowed from Christian cult publications and images of European countries. The oldest known images of the pelican in Ukraine belong to the artistic decoration of the book, and since the XVIII century, they are found in Baroque iconography and all kinds of plastic art. In Ukrainian art, as in the art of other countries, the image of the pelican acquires a symbolic meaning in three hypostases: a symbol of Christ's self-sacrifice, paternal self-denial, and human mercy. Priority in the study of the role and place of the symbol of the pelican in the national culture belongs to an art critic, poet, political activist Natalia Kotsyubynska. Further search for information on the role of ornithological symbols in the system of Ukrainian culture opens the prospect of a deeper understanding of the national mentality of our people. Keywords: symbolic image, pelican, art, Ukrainian culture, Natalia Kotsyubynska.

Manipulative Capacity in the application of the Comparison mechanism

The article presents some theoretical justifications and some features of the origin of the comparison mechanism. Some areas of the practical application of the comparison mechanism were also presented, and the main manipulative intentions were analyzed. The theoretical part considers and analyzes the problems and features of the development of a comparison mechanism. In particular, the Adler theory is analyzed. The author substantiates the fact that the basis of the comparison mechanism originates in early childhood. In this process, a particular role and significance is the fact of comparison with siblings. The theory of object relations is also considered a theoretical basis, especially regarding the psychological structure of the narcissistic personality. In this context, the psychoanalytic approach is regarded as a profound basis for forming a psychological comparison mechanism and later becomes a stable behavioural pattern. The correlation between the emergence of the psychological comparison mechanism and the influence of the individual's environment is also theoretically justified. The formed behavioural pattern becomes the basis for subsequent manipulations in the field of social psychology. In particular, the concept of a reference group is when an individual compares himself with members of his group and groups of opponents. In this case, using this mechanism, you can build the foundations of national identity and, as an additional tactic using the mechanism of depreciation. In marketing, a manipulative comparison mechanism is used to influence the self-image. In this case, a particular consumer is identified with this image by comparing himself to the advertising image. In the political and marketing spheres, manipulative use of the comparison mechanism can be found very often. The phenomenon of manipulation in this context concerns the concept of intention. The main manipulative intention is the desire to devalue. In politics, devaluation is often used, and in marketing, dominance is used. In the context of the latter, appropriate language is used. The manipulative use of the comparison mechanism is considered in the example of the discursive practices of representatives of individual political elites. In the political sphere, in using the comparison mechanism, the intention of devaluation, narcissistic comparison is mainly used. This process can particularly be seen when comparing the speech of the President of Georgia with the statement of the President of Ukraine. Using the example of President Zelensky's statement, one can see the use of a symbolic image, which provides even greater power of manipulative influence on one's audience. In marketing and advertising, the comparison mechanism is combined with the demonstration of the advantages of your own product compared to others.

Joanna I of Anjou (1343–1382)

Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.

Why Is the History of Ukrainian Literature Silent About the Women Writers of the Second and Third Decades of the 20th Century?

The article deals with the problem of avoiding women’s literature of the 1920s and 1930s in the narrative of the history of Ukrainian literature. This period is called the Executed Renaissance and is the key to the nation-making narrative. It is seen as the time of the modern nation formation and the time of the greatest sacrifice in the name of the nation. Women’s literature of that time is selectively discussed in this context, but the bulk of female literature of that period remains out of the attention of researchers, despite the fact that both the previous stage of development of women’s literature and subsequent ones are present in the narrative of the history of Ukrainian literature. The article hypothesizes that the period of the 1920s and 1930s “fell out” because the women’s literature of that time did not meet the needs of the nation-making narrative that dominates the Ukrainian humanities. The aim of the study is to show this discrepancy by analyzing the representation of gender practices in women’s texts of that period. The theoretical basis of the work was the ideas by Anne McClintock, Yuval-Davis, Joane Nagel, Robert Connell, Martha Bohachevsky-Chomiak. As a result of the study, it has been revealed that women’s literature of the time has different topics and problems, which is due to different experiences. Describing the Bolshevik reforms, women attach equal importance to changes in management and forms of ownership, as well as to the new norms of family and maternal law. The women writers remind of the importance of women’s work in enterprises and in agriculture, especially in the absence of men involved in the war. The literature reflects the rapid expansion of the range of characters’ professions, but at the same time shows the complexity of self-realization, especially when it is necessary to combine profession and motherhood. At this time, women speak more openly about cathexis, challenging patriarchal norms. The image of a woman, in particular of a mother, created by the woman writers did not correspond to the symbolic image of the nation’s reproducer, so the return of women’s literature of the 1920s and 1930s did not meet the needs of the nation-making narrative in the post-Soviet conditions.

Orthographic Projection and the Elaboration of the Imaginary

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>

Orthographic Projection and the Elaboration of the Imaginary

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>

Screening the Revelation: Bill Viola — Andrei Tarkovsky

The article is devoted to the problem of generating symbolic content in contemporary art. The problem is directly related to the vitality of art itself, which depends on the ability to create a universal picture of the world. In the art of the 20th century, the process of replacing symbolism with symptomatology begins, which gradually leads to a narrowing of the sphere of the symbolic content of culture, since ambiguous symbols are replaced by completely unambiguous symptoms or signs of a particular traumatic problems. This process is associated with the materialization of the symbolic and, in general, with the strengthening of the materialist dominant in the culture of the 1920s–1960s. The article examines the problem of the embodiment of symbols using the example of the work of film director Andrei Tarkovsky and video artist Bill Viola, who largely inherited Tarkovsky in the 1980s–2010s. The comparative analysis is based on the works of Tarkovsky and Viola, in which both masters strive to create moments of revelation. These symbolic moments, Goethe and his interpreter, the philosopher Karen Swassjan, call the revelations of the unsearchable — the universal, open in the private. Tarkovsky and Viola strive to create such moments on the screens, most often resorting to showing the interaction of the characters with the symbolic elements of fire and water. Also, both of them reconstructed different European paintings of the Renaissance and Baroque as a reserve of symbolic. Their search is not always successful precisely because of the substitution of a symbolic image for a symptomatic one: replacement of the unsearchable or unimaginable with scenes of dreams or hallucinosis. However, the search for Tarkovsky and Viola is so intense that the very ambiguity of the results is the most important symptom of the state of modern culture, testifying to a crisis in understanding the possibilities of representation. Turning to screen art, to that form of life that becomes structure-forming, both Viola and Tarkovsky strive to recreate in it the possibility of revelation, the presence of a supermaterial image that opens a saving life path.

Reception of peri's image in Russian poetry of the XIX century (the second article)

The article presents additions to the scientific research of D.N. Zhatkin and A.P. Dolgov «Peri in Russian poetry», published in 2007 in the magazine «Russian speech» and comprehending the facts that influenced on the process of assimilation of the symbolic image of Peri, who came from Eastern mythology and appeared in the works of Russian writers and translators thanks to the reception of the works of Thomas Moore, namely one of his frame tales of the eastern story «Lalla Rookh» «Paradise and Peri». This article is the first to systematize materials on the topic related to the literary work of such poets of the «second row» as D.V. Davydov, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, V.S. Pecherin, S. Ya.Nadson, P.F. Yakubovich. In their works, Russian poets of the «second row» traditionally continued to use the symbolic image of the peri to describe a woman with an unusual attractiveness and lightness.

THE ROLE OF THE SYMBOLIC IMAGE IN THE INTERPRETATION OF THE NATIONAL PICTURE OF THE WORLD (ON THE EXAMPLE OF ANALYSIS OF THE IMAGE OF BAMBOO IN CHINESE LINGUOCULTURE)

Введение. Эпоха глобализации и расширения межкультурной коммуникации формирует новые вызовы и ставит их на разрешение ученым, осуществляющим свои изыскания в различных научных областях. Актуальной проблемой гуманитаристики является описание национальных картин мира посредством моделирования их фрагментов. В лингвистике особую значимость сегодня имеет изучение вербальных средств объективации концептуальных смыслов. В числе последних выделяются поэтические тексты. Их эстетическая направленность позволяет исследовать в качестве лингвокультурологических и когнитивных средств образы, присутствующие в этих текстах. Цель – исследовать роль образных символических средств в интерпретации фрагмента китайской картины мира, связанного с осмыслением образа бамбука в древних поэтических текстах. Материал и методы. Материалом исследования послужили поэтические тексты древних китайских авторов. В качестве единиц выступили языковые средства, воплощающие один из наиболее распространенных в китайской лингвокультуре образов ‒ образ бамбука. Основные методы исследования ‒ контекстологический и лексико-семантический. Результаты и обсуждение. Особенности биологического строения бамбука и разноаспектные возможности его применения в жизни носителей китайского языка определяют богатейший образный потенциал лексемы-номината. Включенность данной лексемы в широкий контекст значительно обогащает процесс смыслопорождения. Языковые средства, объективирующие толкование образа бамбука в китайской лингвокультуре, в текстовой перспективе получают возможность своей концептуальной интерпретации. Последняя развертывается на основании рассмотрения символических компонентов смысла, вписанных в национальную картину мира на уровне ее фрагментов. Направления символизации значения языковых единиц, номинирующих образ бамбука, выявляются путем рассмотрения речевой структуры древних поэтических текстов китайских авторов. Заключение. Ключевыми проявлениями символичного значения образа бамбука в китайской лингвокультуре можно назвать варианты интерпретации данного образа как символа высокой нравственности, чистоты, покоя, гармонии и умиротворенности. Такое символичное толкование не противоречит основным догмам китайской философии, в его основе лежит ассоциативная перекличка, возникающая в сознании носителей языка, как результат сопоставления свойств растения и характеристик человека. Introduction. The modern era of globalization and the expansion of intercultural communication creates new challenges and puts them to the solution of scientists carrying out their research in various scientific fields. The actual problem of the humanities is the description of national pictures of the world by modeling their fragments. In linguistics, the study of verbal means of objectifying conceptual meanings is of particular importance today. Among the latter, poetic texts stand out, the aesthetic orientation of which makes it possible to investigate the images present in these texts as linguoculturological and cognitive means. Aim and objectives. Explore the role of figurative symbolic means in the interpretation of a fragment of the Chinese picture of the world associated with the interpretation of the image of bamboo in ancient poetic texts. Material and methods. The material of the research is poetic texts of ancient Chinese authors. The units are linguistic means that embody one of the most common images in Chinese linguoculture – the image of a bamboo. The main research methods are contextological and lexical-semantic. Results and discussion. The peculiarities of the biological structure of bamboo and the diverse possibilities of its use in the life of native Chinese speakers determine the richest figurative potential of the nominated lexeme. The inclusion of this lexeme in a broad context significantly enriches the process of generating meaning. Linguistic means that objectify the interpretation of the image of bamboo in Chinese linguistic culture, in the textual perspective, get the possibility of their conceptual interpretation. The latter unfolds on the basis of considering the symbolic components of meaning inscribed in the national picture of the world at the level of its fragments. The directions of symbolizing the meaning of linguistic units nominating the image of a bamboo are revealed by considering the speech structure of ancient poetic texts of Chinese authors. Conclusion. The key manifestations of the symbolic meaning of the image of bamboo in Chinese linguistic culture, judging by the results obtained, can be called the options for interpreting the image of bamboo as a symbol of high morality, purity, peace, harmony and serenity. Such a symbolic interpretation does not contradict the basic dogmas of Chinese philosophy; it is based on an associative roll call that arises in the minds of native speakers as a result of a comparison of plant properties and human characteristics. Keywords: linguistic picture of the world, symbolic image, Chinese linguoculture, poetic text, bamboo image, lexical means, linguocultural analysis.