SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.

Application of VR Technology in Jewelry Display

As a special symbolic cultural carrier that reflects people’s material life and spiritual state, jewelry plays an increasingly important role in life. How can we accelerate brand promotion, promote jewelry product sales, and establish a rapid market response mechanism? High efficiency, high quality, and low cost to meet consumers’ increasingly personalized and diversified needs are the problems we currently need to solve. The purpose of this article is to explore the application of VR technology in jewelry displays and provide a brand new idea for jewelry display. In order to realize the virtualization of the jewelry design process, this article uses the Cult 3D VR platform to complete the design and realization of the interactive function of the jewelry virtual model, uses the Photoshop software to design the jewelry virtual display system interface, and finally completes the jewelry virtual display system in the Dreamweaver software integration and release. Through detailed example application, the feasibility of the viewpoint of this subject was effectively verified. In this paper, the two algorithms BRSK and SURF are used in conjunction, and the multiscale expression characteristics of BRISK in space and the rotation-invariant characteristics of SURF are used. Studies have shown that the experimental results of the rotation performance of the method in this paper show that the accuracy is improved by 60%, and the time-consuming is relatively less. Therefore, under the premise of ensuring the rapidity, the method in this paper can guarantee the accuracy and time cost of control matching.

The Easter Short Story Genre as the Result of Spiritual and Moral Strivings of A. P. Chekhov (On the Night before Easter, Student, and Bishop)

Purpose. This paper aims to examine the short stories On the Night before Easter, Student and Bishop by A. P. Chekhov, which the author unites into an individual Easter story cycle based on their common spiritual and moral challenges and particular calendar time – the Easter. Results. The landscape in On the Night before Easter is in consonance with thoughts and inner world of the storyteller, novitiate Hieronimus and idling folk. By depicting nature, Chekhov manages to antithesize ‘spiritual’ and ‘fleshly’, ‘true’ and ‘borrowed’ knowledge. Easter motifs and attributes also contribute to this atmosphere. In this short story, Chekhov portrays the Church representatives as common people, which results in powerful emotional feedback from the readers. The main idea of the Easter short story Student – the issue of human memory, belief and time. At Easter the protagonist – Ivan Velikopolskii – has ‘resurrected’, feels a desire to live and enjoy his life. An accidental meeting with two women at the campfire on Great Friday allows him to acknowledge the importance of being involved in someone else’s suffering and uniting with people. In Bishop, one of Chekhov’s ‘top’ works, Easter motifs, attributes and landscape sketches help the writer to reveal the protagonist’s inner world and get through the author’s idea of the value of human life. This story finalizes many motifs and themes typical for Chekhov’s mature works. Conclusion. The works represented in this article are united by common themes, plots and Easter motifs and multiple psychological details embedded in the narration, which depict the inner world of characters. Landscape descriptions correlating with the characters’ spiritual state also play a significant role.

THE CONCEPT ‘DEMON’ IN THE WORKS BY FYODOR DOSTOEVSKY

The article deals with the concept ‘demon’ in the works by Fyodor Dostoevsky. It is found in various grammatical forms in the writer's works published in magazines in 1861 and 1877, in the story The Mistress, as well as in the novels The Idiot and Demons. In Dostoevsky's letters, this concept is not given a single mention. The paper reveals a number of specific features in the use of the concept by the writer. First, locality and compactness – the concept is always used within the same topic (in works published in magazines) or scene (in fiction). Second, the concept does not have any romantic connotation traditional for European and Russian literature; the writer always uses it in its main meaning fixed by the Church Slavonic language, where a demon is understood as an immaterial intelligent creature that is hostile to man. We consider these features to be related to the writer’s Orthodox worldview, which determined his ontology, epistemology and speech tactics. According to the Orthodox tradition, the use of the names of evil spirits should be extremely limited, therefore Dostoevsky used this concept only when it was impossible to express the idea otherwise without loss of meaning.In the writer's works published in magazines in 1861, the concept ‘demon’ is represented through the lexemes ‘Mephistopheles’ and ‘mephistophelity’, which serve to denote the apostasy processes of the Russian reality contemporary with the writer. In the novel Demons, this concept is represented through the lexeme ‘imp’, used to denote the spirit of the lower hierarchy in relation to a demon.The paper concludes that the concept ‘demon’ and the subordinate lexemes are used by Dostoevsky to depict the spiritual state of a character or to identify the spiritual causes of a particular social phenomenon.

Clinal study of Pippalyadya Lau in the management of Tamaka Shwasa

Our lifestyles have been driven to another level with introduction of new gadgets and science and technological interferences in living in one way or the other. The major cause of poor health conditions are diseases, improper and unhealthy dietary habits, injury, incremented mental stress levels, lack of hygiene, unhealthy lifestyle, etc. The true meaning of being healthy is apposite balance of mental, physical and a spiritual state of a being. Shwasa Roga is classified into 5 categories in Ayurveda. Tamaka Shwasa is one of the categories of Shwasa Roga. In modern Asthma is known as reactive airway disease. This hyper responsiveness manifests itself as broncho constriction following exercise, on natural exposure to strong as irritant fumes such as sulphur dioxide, tobacco smoke, etc. The present study deals with clinical Study of Pippalyadya Lauh on Tamaka Shwasa. In this study total 60 patients of Tamaka Shvasa were registered. Patients were randomly divided under three groups. Results of study reveals that all preparations of Pippalyadi Loha has shown significant results on Tamaka Shwasa patients and Pippalyadi Loha No I and considered to be the best among three different preparations and safe for use.

Origins, Bondage, Liberation, and Grace

The Bhāgavata is primarily concerned with how the jīva (self’s) bondage is perpetuated and how it is brought to an end. While the text more or less takes bondage for granted, there are several passages that discuss the important but vexing question of how we became bound in the first place. In some of these passages, the self’s bondage is described as having a beginning, and that beginning is described as a type of “fall” from an original spiritual state. As for freedom from bondage (or liberation), this is basically described as a return to that original state. Standing against this portrayal, however, are a handful of Bhāgavata passages which seem to suggest that the self’s bondage is beginningless (anādi), with no starting point in time. This chapter explores the question of whether the Bhāgavata views the bound jīva as having existed eternally in the cycle of birth and death or as having previously existed in an unbound state of eternal being, from which it fell into temporal cyclical existence.

Children's images in the works of Pyotr Dik

Pyotr Dik's graphics are well known in the professional community and are kept in the collections of leading Russian museums, but it is difficult to consider Dik's works fully studied. Compositions containing figurative images that can be interpreted as children's images are common among the artist works of the mature period. However, no separate works have been found on the theme of childhood in the master's work. The purpose of this article is to study children's images from a formal and meaningful point of view. This work uses elements of formal stylistic, iconological, and cultural-historical analyses as methods of studying the topic. The specificity of Dick's artistic method was that the artist did not set itself the task of a detailed study of nature and the reflection of its unique properties on the sheet, but used visual impressions to build his own plastic system, characterized by a recognizable language of conditional geometrized figures. Pyotr Dik addressed children's images in the framework of single-figure, two-figure and group compositions. Single-figure compositions have a meaningful connection with the problem of childhood loneliness, although in some cases they can be a visual metaphor for childhood as a special spiritual state. One of the characteristic motifs of two-figure compositions is the motif of interaction between a child and an adult (especially interesting in this type of composition with images of elderly people). Group compositions containing children's images, in some cases, are associated with the theme of teaching in the broad sense of the word. The artist may have tried to operate with complex categories of a philosophical order, as well as to explore the problem of kinship and alienation through his own system of figurative motives. Графика Петра Дика хорошо известна в профессиональной среде и хранится в собраниях ведущих российских музеев, однако трудно считать наследие Дика полностью изученным. Среди работ художника зрелого периода распространены композиции, содержащие фигуративные изображения, которые можно интерпретировать как детские образы. Однако к настоящему моменту не было обнаружено отдельных работ, посвященных теме детства в творчестве мастера. Целью этой статьи является изучение детских образов с формальной и содержательной точек зрения. В качестве методов изучения темы в данной работе применяются элементы формально-стилистического, иконологического и культурно-исторического анализов. Специфика художественного метода Дика заключалась в том, что график не ставил перед собой задачи детального исследования натуры и отражения ее уникальных свойств на листе, а использовал визуальные впечатления для построения собственной пластической системы, отличающейся узнаваемым языком условных геометризированных фигур. Петр Дик обращался к детским образам в рамках однофигурных, двухфигурных и групповых композиций. Однофигурные композиции содержательно соприкасаются с проблемой детского одиночества, хотя в отдельных случаях могут быть визуальной метафорой детства как особенного духовного состояния. Одним из характерных мотивов двухфигурных композиций стал мотив взаимодействия ребенка и взрослого (особенно интересны в рамках данного типа композиции с образами пожилых людей). Групповые композиции, содержащие детские образы, в некоторых случаях связаны с темой учительства в широком смысле слова. Через собственную систему фигуративных мотивов художник, возможно, пытался оперировать сложными категориями философского порядка, а также исследовать проблему родства и отчуждения.

CONCEPTUAL FOUNDATIONS OF THE PROBLEM OF NATIONAL IDENTITY AWARENESS

Awareness of national identity is a complex, multifaceted spiritual state in the minds and beliefs of people, which impacts on all phenomena of social development. The level of national identity is an important factor for further development of the countries that have recently gained their independence. The essence of national identity phenomenon, its role in the existence of the nation, defining its status as sovereign entity, the role of the state factor in the system of national identity are analyzed via socio-philosophical analysis in the article. KEY WORDS: ethnos, national values, Koran, national heritage, “title” nation, tolerance, political stability.

English Protestantism (1520–1700)

This chapter examines conversion from the English Reformers to John Bunyan. Beginning with William Tyndale’s translation and annotations of the New Testament, the early evangelical movement promoted a religious culture that uplifted conversion as an ideal of Christian life. By the end of the sixteenth century, Puritan practical divinity represented the first concerted effort to make conversion the standard that separated true Christianity from its counterfeits. In journals, diaries, treatises, and autobiographies, Puritans scrutinized their spiritual state and described conversion as a profound, overwhelming, totally transforming experience. In preaching and catechizing, they uplifted conversion as the sine qua non of the Christian life. Their rhetoric of conversion, including their detailed morphologies of conversion, became a ubiquitous feature of Protestant discourse in the seventeenth century. By century’s end, not only in England but also on the Continent and in New England, a reformulated understanding of conversion transcended ecclesiastical structures and increasingly centered on the individual’s direct relationship to God.