Metaphorical Structure of the Poetry of the symbolists (based on the poems by V. Ivanov)

The aim of this article is to show that metaphorical and symbolic word in the symbolist poetics are the interdependent phenomena, and to reveal how a poem becomes symbolic through the realization of a certain metaphorical structure, based on the analysis of V. Ivanov's poems. The study of Ivanov's work “Dve stihii v russkom simvolisme” (“Two Elements in the Russian Symbolism”) has led to the conclusion that the author’s thinking is personalized and creates entities; in the numerous phenomena of existence, he sees a single personal entity. Thus arises the semantic perspective of defining a single essence through a series of comparisons. This is why a number of Ivanov's poems are based on multiple metaphor, a framework of definitions expressed in metaphors. In each of the analyzed works (“Ulov” – “The catch”, “Alpiyskiy rog” – “Alpine horn”, the cycle “Lira i os’” – “Lyre and axis”), the poet establishes several levels of metaphorization, where the real and the ideal planes are constantly exchanging places. The metaphorical comparison of different objects builds transitions from one level to another. Thus, a kind of synthesis emerges, things become transparent, flexible, and they are permeated by upward currents. It is this dynamic symbol of existence that makes it possible to accumulate and revive the past content, and interact with the world cultural context. It has a certain structure – a crystal, whose facets are separate and intrinsically valuable, but deep down they are united, and this unity lives in each of the facets. The detected structure also expresses the main tendency of Ivanov's creative work: the contemplation of an immediate feeling, an instinct, i.e. a heroic attempt to break through to a sense of the unity of everything with everything through rational comprehension and analysis.

Dynamic symbol for electronic map, network map and the ability to create dynamic symbol on the map with the online answering machine

In visualization map, innovation is always needed to make geographic data more accessible to everyone. As well as other sciences, it must be based on solid theory. Currently, some electronic maps and network maps have used dynamic symbols but to summarize this new form of map symbols in Vietnam, there are no specific documents. This article provides some descriptive and applied basis for forming dynamic symbols for electronics maps, network maps. Along with that, the article introduces the Wolfram Alpha online answering engine and the way to communicate with this artificial intelligence engine to create dynamic symbols on the map showing the development of the outbreak Covid -19. Initially, this result opened up the possibility of using a new tool for map makers.

Mendelsohn, Erich (1887–1953)

Erich Mendelsohn was born on March 21, 1887, in Allenstein, East Prussia. He gained his architectural education at the technical universities in Charlottenburg and Munich in 1908–1912. Immediately after WWI he established his office in Berlin. Like other German avant-garde architects in the revolutionary atmosphere after the war he was affiliated to the Arbeitsrat für Kunst [Work Council for Art] in 1919. In 1925 he became a member of the architectural organization Der Ring [The Ring] which promoted Neues Bauen [New Building]. The 1920s were probably the most successful period for Mendelsohn and his crowded office. Shortly afterwards the changed political situation led to a brief period of exile for the Jewish Mendelsohn in Amsterdam after which he established a new office in London in 1933. The opening of a second office in Jerusalem followed in 1935, before he moved again to Palestine in 1939. From 1941 he spent the later part of his career in the United States until his death on September 15, 1953, in San Francisco. Mendelsohn, who was inspired by Henry van de Velde, Joseph Maria Olbrich, and Frank Lloyd Wright, began his career with the expressionist, organically shaped Einstein Tower in Potsdam (1919–1922), a research observatory and at the same time a dynamic symbol of Albert Einstein’s theories on energy and matter. It won him many private engagements, making him one of the most successful modern architects of the 1920s with numerous commissions in Germany and one in Leningrad (Red Flag Textile Factory 1925), despite not being mentioned in Sigfried Giedion’s influential Space, Time and Architecture (1941).