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Auswahl der wissenschaftlichen Literatur zum Thema „Creation (Literary, artistic, etc.)“
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Zeitschriftenartikel zum Thema "Creation (Literary, artistic, etc.)"
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GHILAȘ, Ana. „Intermediate ways of creating theatricality in artistic discourse“. Arta 31, Nr. 2 (Januar 2023): 67–71. http://dx.doi.org/10.52603/arta.2022.31-2.09.
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Th e article addresses the issue of theatricality, especially the way of creating this cultural phenomenon in the dramaturgical text and in the narrative artistic text. Theatricality understood as a cultural and aesthetic aspect is combined in some types of speeches with theatricality in life, especially in prose. If in the dramaturgical text its structure (dialogue — stage directions) constitutes a first element of theatricality, then the theatrical techniques from the show (ad spectatores, the monologue, the actor’s corporeality, etc.) are elements that can also be found in the narrative literary text in the form of authoriality, of various forms of psychology, etc. In this context, an important role in the creation of theatricality is played by intermediality as the interaction of codes specific to certain artistic or non-artistic discourses. We investigate the relationship between theatricality and intermediality from a theoretical and methodological point of view, with some examples from artistic texts or performances.
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Starostina, Svetlana A. „Modern writing blogs in the literary, scientific, and educational space“. Neophilology, Nr. 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
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We consider the phenomenon of network literature as an integral part of the modern literary process. We analyze such a phenomenon as a “writing blog” for its compliance with the basic requirements of the neterature: hypertextuality, interactivity, multimedia, informality and pro-cessuality of the text, as well as its semantic content. We conduct a study of the author’s blogs of D. Glukhovsky, E. Vodolazkin, E. Grishkovets, on the one hand, as methods of creating an artistic work, on the other, as ways of promoting the personality and creativity of the writer. Meanwhile, we identify not only the author’s peculiarities of blogging and communication of writers with the readership, but also the individual approaches of particular artistic individuals to the creation and popularization of their works (collective texts writing, combining an artistic work with multimedia content, etc.). We consider the issue of studying online literature in secondary educational institu-tions, and also develop ways to solve it. In particular, we propose an introduction to the educational process of research project work on topical issues of neterature, modern interactive teaching methods, as well as communication of schoolchildren with modern network writers in the format of forums and blogs.
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A, Boomi Selvam. „Modern Tamil Creation Registered A. Madhavan’s Ilakkiya Chuvadukal“. International Research Journal of Tamil 4, S-7 (29.07.2022): 182–89. http://dx.doi.org/10.34256/irjt22s728.
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In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. Critical trends that are part of modern art-literature texts are universally creating multifaceted openings for intellectual dialogues in everyday life. Today, its ramifications have crossed the western horizons of the world and have begun to settle in Indo-Tamil regions as well. In particular, when it comes to modern art-literary trends, the novel, short story, poem, drama, review, etc., and finally the 'review' section, which is placed in the last place, has become literature in the public space and a kind of art in the private space and is receiving unique attention. In this way, while all the other artistic-literary activities are traveling with only single functions as their characteristics, only this form of review 'perspective' has many characteristics in itself and determines the metabolism of other artistic-literary forms. As such, it deserves special attention among modern Tamil authors and in creative studies. Although the beginnings of criticism in Tamil literature date back to the period of the textualists, it gained momentum only in the early twentieth century. In particular, the marriage Selvakesavaraya Mudaliar is the starting point of modern Tamil literature. However, while he only did original review work, some of his successors have been doing review work as well as creative work. A. Madhavan deserves to be mentioned in this series.
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Pavlinchuk, T. „THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"“. Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, Nr. 2(95) (17.12.2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
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The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
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Corcinschi, Nina. „Critica și eseul basarabean din 2020“. Limba, literatura, folclor, Nr. 2, 2021 (Dezember 2021): 63–66. http://dx.doi.org/10.52505/llf.2021.2.05.
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Year 2020 was favorable for the critical and essayistic spirit in the Republic of Moldova. The books written in this section offer an overview of current critical thinking, of the most modern perspectives on literature approaching. The concept “arheul marginii”, by Andrei Țurcanu, offers an artistic and sociological grid for evaluating the relationship of the literary margin with the centre, i.e. of Romanian literature on both banks of the Prut, in a social, political and cultural context. The books of Emilian Galaicu Păun and Adrian Ciubotaru address current cultural phenomena (an anthropological vision of death, disease, suffering, etc.), important authors in Romanian and universal literature. Alexandru Burlacu analyses the 60th and 70th creation generations in Bessarabia, Dumitru Apetri – the phenomenon of translations, etc. All together they confirm a viable Bessarabian meta-literary process, connected to the latest Romanian and European literary challenges.
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Hurbаnskа, Svitlаnа O. „PECULIARITIES OF PRECEDENT NAMES FUNCTIONING IN POSTMODERN ARTISTIC DISCOURSE“. Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, Nr. 14(82) (29.08.2022): 26–30. http://dx.doi.org/10.25264/2519-2558-2022-14(82)-26-30.
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This article examines intertextuality of artistic texts of postmodern discourse in the aspect of linguosemiotic research; defines intertextuality as a text category that occupies one of the central places among other text categories; summarizes and systematizes the functioning of precedent names in postmodern artistic texts; considers postmodern artistic discourse as a special semantic focus of intertextual connections on the example of precedent names; highlights that intertextuality changes the idea of artistic texts as homogeneous structures, suggesting their consideration as heterogeneous formations. Recently, in linguistic science, general tendencies in the study of artistic texts as an intertextual phenomenon are observed. However, the lack of postmodern artistic discourse research in intertextual context by and large is noticed. Artistic texts of postmodern literature reflect the text-creating tendencies of postmodern creativity, the change of ideological system, the restructuring of values hierarchy, the creation of hybrid artistic forms, the production of new writing ways, and the manifestation of topical issues. Postmodern artistic texts are characterized by the presence of a large number of expressive precedent names. Introduction to the structure of artistic texts names, surnames, nicknames of prominent historical figures, biblical and mythological characters, writers of previous eras, heroes of their works, etc., that are emphasized with deep authorial intentions and meanings, defines literary characters’ destinies in a certain way, and affects the development of artistic text plot lines in general. The category of intertextuality creates a fragmented text in postmodernism fiction. Postmodern artistic text is a complete cognitive and conceptual, communicative and semiotic unity It is a heterogeneous structure marked by intertextual connections and lines with other texts. Therefore, it becomes possible to correlate cultural signs with background knowledge and with the specificity of linguistic consciousness, as well as create a special semiotic space.
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Korniienko, Oksana. „MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE“. Polish Studies of Kyiv, Nr. 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
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Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.
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XUE, CH. „POETICS OF THE TITLES "THE SUN OF THE DEAD” I.S. SHMELEVA“. Scientific Notes of Orel State University 100, Nr. 3 (26.09.2023): 124–27. http://dx.doi.org/10.33979/1998-2720-2023-100-3-124-127.
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The purpose of the article is to identify the artistic specifics of the titles in the «Sun of the Dead» by I.S. Shmelev. The key lexemes «the sun» and «the dead», combined in the title complex, correlate with the image of the distorted Crimean existence of the early 1920s, act as the leitmotives of the narrative, carry an apocalyptic eschatology. The literary context of the interpretation of the solar motif as a marker of morality (Homer, Dante, I. Babel, A. Shiryaevets, etc.) is given. The result of the research shows the correlation of the title of the story with the literary context, the solar mythology of life creation and mortality, expresses the idea of the duality of being, combines the plot-autonomous chapters into a complete work.
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Rogacheva, Natalia A., und Anastasiia O. Drozdova. „NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”“. Tyumen State University Herald. Humanities Research. Humanitates 6, Nr. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
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The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
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Borodina, N. A., O. A. Selemeneva und N. A. Trubitsina. „Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects“. Nauchnyi dialog, Nr. 10 (29.10.2021): 28–47. http://dx.doi.org/10.24224/2227-1295-2021-10-28-47.
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The results of the analysis of semantic groups of mythonyms of the poetic heritage of I. A. Bunin as means of explication of various historical-informational and cultural-symbolic worldview meanings are presented in the article. The relevance of the work is due to the interest of literary onomastics in identifying units of the onomastic code of artistic and aesthetic systems of various domestic and foreign writers. The novelty of the work is associated with the inclusion of lexical units with different ratios of the nominated image and denotation into the Bunin mythonymicon, with the synthesis of linguistic and literary-cultural approaches in characterizing each of the selected lexical units. The twelve described semantic groups of mythological names are organized in the form of a field with a core and peripheral parts. For each group, the features of contextual use are noted. The authors come to the conclusion that in the Bunin picture of the world, mythonyms of various semantics perform text-forming and meaning-forming functions. They not only represent archetypal images (Fire, Bottom, Feminine, Garden, etc.), axiological oppositions (light — darkness, good — evil, etc.), key ideas, themes and motives (the idea of being still, themes of love, death, motives of temptation, resurrection, dreams, etc.), historiosophical concepts (moral choice and fortitude), but also participate in the creation of an individual author’s myth.
Dissertationen zum Thema "Creation (Literary, artistic, etc.)"
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Kehoe, Peggy. „Self discovery and personal creation /“. Online version of thesis, 1991. http://hdl.handle.net/1850/11073.
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Witt, Susanna. „Creating creation readings of Pasternak's Doktor Živago /“. Doctoral thesis, Stockholm : Almqvist och Wiksell International, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46340409.html.
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Findlay, Linda. „Murky waters: navigating through the myths and rules of art making /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
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Green, Charles. „Thief in the attic : artistic collaborations and modified identities in international art after 1968 /“. Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.
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Lambie, Eileen. „A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright“. Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Cseh, Genevieve. „Flow in visual creativity“. Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225306.
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Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.
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Saxton, Linda K. „Computer imagery and creative energy /“. Online version of thesis, 1987. http://hdl.handle.net/1850/10309.
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Thomas, Christopher. „The place of art in Spinoza's naturalist philosophy“. Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Wedel, Valerie A. „The undoing of the self an artistic exploration /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5004.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Vita. Includes bibliographical references.
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Hall, Wendy E. „Ceramic handbuilt vessels“. Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725080.
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The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.Department of Art
Bücher zum Thema "Creation (Literary, artistic, etc.)"
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Cameron, Julia. The artist's way morning pages journal: A companion volume to the artist's way. New York: Putnam, 1995.
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Diane, Apostolos-Cappadona, und Ebersole Lucinda, Hrsg. Women, creativity, and the arts: Critical and autobiographical perspectives. New York: Continuum, 1995.
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1922-, Barron Frank X., Montuori Alfonso und Barron Anthea, Hrsg. Creators on creating: Awakening and cultivating the imaginative mind. New York: Putnam, 1997.
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Zeder, Suzan. Spaces of creation: The creative process of playwriting. Portsmouth, NH: Heinemann, 2005.
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Cornell, Alex. Breakthrough!: 100 proven strategies to spark your imagination. New York: Princeton Architectural Press, 2012.
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Gedo, John E. The artist & the emotional world: Creativity and personality. New York: Columbia University Press, 1996.
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Paul, Weiss. Creative ventures. Carbondale: Southern Illinois University Press, 1992.
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Els, Susan McBride. Into the deep: A writerʼs look at creativity. Portsmouth, N.H: Heinemann, 1994.
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Solvang-Angell, Diane. Find your voice in the visual arts: Doodles and other creative paths. Seattle: Cune Press, 2013.
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1933-, Malyon Carol, Hrsg. Imagination in action: Thoughts on creativity by painters, sculptors, musicians, poets, novelists, teachers, actors ... Toronto: Mercury Press, 2007.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Creation (Literary, artistic, etc.)"
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Qian, Xiao, Wen Jieruo und Xu Jun. „Translation as an artistic (re-)creation is boundless“. In Dialogues on the Theory and Practice of Literary Translation, 51–60. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: China perspectives | Translation of: Wen xue fan yi de li lun yu shi jian: fan yi dui hua lu.: Routledge, 2019. http://dx.doi.org/10.4324/9780429287848-5.
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de Matos, Cláudia Neiva. „Popular song and literary scholarship: Interactions between criticism and artistic creation“. In Contemporary Popular Music Studies, 51–59. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_5.
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Dirschauer, Marlene. „‘The Obscure Body of the Sea’: Female Bodies, Water and Artistic Creation from The Voyage Out to The Waves“. In Geocriticism and Spatial Literary Studies, 133–72. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-13421-0_5.
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Manninger, Sandra, und Matias del Campo. „Deep Mining Authorship“. In Computational Design and Robotic Fabrication, 3–10. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.
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AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
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Zhuravleva, Anastasia A. „The Chekhov case: The world of Russian estate in the chronotope of the “large city”“. In Estate real — estate literary: vectors of creative transformation, 53–65. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-53-65.
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The article attempts to identify and describe one of the methods of the artistic embodiment of the Chekhov chronotope of the “large city” (according to the definition of I.N. Sukhikh), which replaced the “estate” and wider — epic, patriarchal-village chronotope of the Russian classics. Such a technique in Chekhov’s poetics is the introduction of common memories of heroes into the structure of works, rethinking their traditional functions and highlighting, sharpening the meaning of their characteristics such as cultural and psychological community. The commonality of memories is understood as the coincidence, identity, separability of the picture of the past by all participants of communication both at the level of factual events and at the level of value attitude to the subject of memory. Using the example of the writer’s works that differ in time of creation and genres, it is shown how the commonality of the heroes’ memories that arises or, conversely, does not arise becomes a marker of a psychological contact that has taken place or has not taken place, a sign of the changed structure of the world, the core of which for Chekhov, unlike I.S. Turgenev, L.N. Tolstoy, etc. classical writers, is the “large city” with its psychological heterogeneity and open-mindedness. The estate is depicted by Chekhov through the prism of a new dominant chronotope: the “estate chronotope” is replaced by the chronotope of the “large city”.
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Korovin, Andrey V. „Dolls, Items and Statues in the System of Images of H.C. Andersen’s Fairy Tales“. In Artificial Body in the World Intellectual and Artistic Culture, 160–82. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-160-182.
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The article deals with fairy tales by Danish writer Hans Christian Andersen, which worldwide known as a creator of the classical form of literary fairy tale. His fairy tales are addressed both to children and adults and as a result of it they have the complex arrangement on the levels of ideas and structure of text. One of the distinguishing features of Andersen’s poetics is the vesting of inanimate images with human qualities; this feature was a real innovation in the genre of literary fairy tale of that time. Dolls, items and sculptures become an essential part of the system of images, determine the specifics of the chronotope in Andersen’s fairy tales. In different texts, they embody different aspects of human existence: inanimate images correlate with the unnatural, artificial and symbolize the dehumanization of being (“The Swineherd”, “The Nightingale”); on the other hand, the world of inanimate items can be associated with the best qualities of the world of people: love, fidelity, art, etc. (“The Steadfast Tin Soldier”, “Psyche”). In the satirical fairy tales, which are a special part of Andersen’s masteries, the world of dolls and items appears to be a parody of human relations (“The Money Pig”, “The Puppet-show Man”). As a result of our research, we claim that dolls, items and statues, belonged to the inanimate world, take the qualities of the living, to specify clearer the boundaries of the human world in the opposition to other spaces, which is comparable with the principles of romantic duality.
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Skorokhodov, Maxim. „DACHA TOPOS IN THE LIFE AND WORK OF K. G. PAUSTOVSKY“. In Creative Heritage of Konstantin Paustovsky in the XXI century. Volume 2, 84–98. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3512.paustovsky_v2/84-98.
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The biography and work of K. G. Paustovsky provide rich material for revealing not only the features of dacha topos, but also the phenomenon of literary dacha - the place where writers live, the space where artistic works are created and dacha topos is creatively embodied. Paustovsky lived in dachas in Peredelkino, Solotcha, Stary Krym, Tarusa. When choosing a place for rest and work, he focused on the need to provide solitude, communication with interesting people, trips to the surroundings, if possible - fishing. Dacha life is reflected in many of the writer's works (The Meshcherskaya Side, The Golden Rose, The Black Sea, The Last Devil, The Golden Fox, The Stealing Cat, The Gift, Farewell to Summer, Cordon 273, The Empty Dacha, The Simple Man (About Konstantin Fedin), Ruvim Frayerman, Meetings with Gaidar, etc.) and in his letters. The article shows that for Paustovsky - both in his life and in his work - the traditions of Russian “estates house literature” are significant, and the occupation in the dacha and its surroundings largely coincides with those occupations that are characteristic of the inhabitants of Russian estates.
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Semak, Ludmila. „THE LINGUISTIC AND STYLISTIC ASPECT OF THE LEXICAL SYNONYMICS (ON THE MATERIAL OF MODERN UKRAINIAN FEMALE PROSE)“. In Factors of cross- and intercultural communication in the higher educational process of Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-051-3-7.
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This paper is the first complex research of lexical synonyms as components of the artistic discourse of modern Ukrainian female prose introduced into the field of semantic, linguistic and stylistic analysis. The scientific novelty of the paper is that for the first time in linguistic and Ukrainian studies the lexical synonymy in modern Ukrainian female prose is comprehensively explored, as a result of which the semantic, linguistic and stylistic features of synonyms are clarified. The study proves that in the analyzed works lexical synonyms, which express the idiolects of modern Ukrainian female prose writers and constitute a set of expressive and imaging marking means of their language creation, represent a number of semantic, linguistic-stylistic, categories. Which allows interpreting them not only in the functional-semantic context but also within linguostylistics. Modern Ukrainian female prose in Ukrainian literature is the latest holistic socio-cultural phenomenon is represented by the works of such authors as Emma Andiievska, Sophiia Andrukhovych, Nina Bichui, Liuko Dashvar, Oksana Zabuzhko, Kateryna Kalytko, Irena Karpa, Yevhenii Kononenko, Maria Matios and others. In the paper it is proved that word convergences appear in the literary text because of the special purpose, the purpose set by the authors, therefore they become striking representatives of idiolects of separate masters of prose. In the paper a detailed analysis of lexical synonyms is carried out, which in the artistic discourse of modern Ukrainian female prose perform a number of basic and additional functions, among which are: functions of differentiation, substitution, aesthetics, synonymic opposition, etc. Using lexical synonyms in different contexts, prose female writers always carefully weigh the semantic nuances of each word, thus achieving the expressiveness, sophistication and high aesthetic value of their literature.
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Kokovina, Natalia Z., und Irina P. Mikhailova. „M. Gorky and the Writers of Kursk Region: to the History of the Personal and Creative Relationship“. In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”, 514–24. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-514-524.
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The article is devoted to the study of regional materials (Kursk locus), on the basis of which M. Gorky’s relations with writers of Kursk region are revealed in the period of 1910s–1920s, as well as his presence in their creative consciousness, through the prism of which a special atmosphere of life and ideological searches is felt. Attempts are made to understand what communication with M. Gorky meant for each of the writers under consideration. The facts were set out and commented upon of the impact not only of the talent of Maxim Gorky, but the impact of his personality on the outlook of the writers of people’s area on the formation of their artistic positions. Special attention is paid to consideration of long-term communication of M. Gorky with P. Zalomov, I. Volnov as an example of literary practice, lessons of skill and mentoring from the great writer. The article for the first time analyzes the memories of P. Karpov, in which he was able to create a colorful portrait of Gorky. The significance of M. Gorky’s influence, the importance of his advice and critical remarks for Karpov are determined. It is established that the arrival of Gorky in Kursk in 1928 became a kind of unifying factor for the formation of a new literary environment in the region. Support, approval, spiritual participation of the writer were important for novice authors from the working-peasant environment (M. Podobedov, M. Kozlovsky, V. Ivanilov, O. Dode, etc.). Conclusions are drawn about the importance of M. Gorky’s communication with Kursk writers as the most fruitful type of literary influences, which was interfaced with the education of the personality of writers, the formation of their creative handwriting.
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Sinenko, Oksana. „THE TOPIC OF WAR IN WESTERN EUROPEAN MUSIC ART OF THE XX–XXI CENTURIES“. In Modernization of research area: national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-28.
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Wars are destructive events that, despite their destructive nature, occur with a certain frequency in the history of human existence. The course of wars, their nature and causes are different, but the impact of military events on human consciousness is inevitable. The problem of the destructive nature of war, its ability to integrate and differentiate human communities often received not only scientific coverage, but also became the subject of works of art. Art is a sphere of human life that flexibly responds to all events that occur in the socio-cultural space. There are many literary, pictorial, theatrical, cinematic works that reflect military events. Examples of military coverage can be found in the musical art of the XX–XXI century. Works related to the theme of war and peace, the balance between these phenomena, are available in both foreign and Ukrainian music culture. The purpose of the paper is to highlight the specifics of musical works on military themes and to determine the dominant features that are inherent in them. This task is urgent, given the significant transformation of modern life of the Ukrainian people and the need to define the role of musical art in society. Highlighting the features of musical works will determine their role in the context of culture. Methodology of the study is based on general research methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematize achievements in the study of military topics in the art of music. The logic of the study involves determining the range of works on the theme of war, highlighting their essential features, conducting a comparative analysis of works written by Western European artists and outlining further prospects for work in this direction. Results. Composers, turning in their works to military themes, often seek to make their compositions understandable to the public. After all, their works acquire the role of a kind of artistic manifestos, the result of their own subjective experiences of military events, or to reflect on them as observers. Trying to make them as accessible as possible to the audience helps to choose the principle of programmability when it comes to instrumental opuses. Composers give their works bright names that allow drawing an analogy with military events, adding poetic epigraphs and more. If composers turn to vocal and instrumental works, they choose those verbal texts that reproduce the desired artistic and figurative content. Most often, artists choose genres such as requiem, crying, oratorio. Composer’s reflection often includes reliance on texts of the Ordinary, Catholic Mass, etc., which are stable carriers of meaning, have their own symbolic value and are understandable due to their circulation in music culture to the general public. Practical implications. The study of works related to military themes provides an opportunity to understand the power of art, as well as to determine its role in society. The works of Western European composers of the XX century M. Ravel, C. Debussy became a reaction to the events of the First World War. The works of A. Schoenberg, A. Onegger, B. Britten, and K. Penderetsky were initiated at the beginning of the Second World War. Nowadays, the 21st century is a time of wars, which are a powerful emotional shock for people in general and composers in particular, who are trying to capture this traumatic experience in an artistic form. However, they see their mission not only in recreating events in an artistic form, but also in creating a kind of warning for posterity about the inability to move through wars that bring only pain and suffering, causing the death of human beings. Value/originality. Composers’ artistic manifestos are a direct reaction to the changing world, shocks that confuse people, even if they were not directly involved. A promising area for further research is to highlight the specifics of works by Ukrainian composers related to military issues.
Konferenzberichte zum Thema "Creation (Literary, artistic, etc.)"
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Rocaciuc, Victoria. „Repeated editions of the tale „Th e little purse with two half-pennies” by Ion Creangă. The evolution of artistic values in Moldovan book graphics in the Soviet and post-Soviet period“. In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.06.
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Th e tale „Th e little purse with two half-pennies” signed by Ion Creanga appeared in repeated editions in various countries and is one of the best known. Th e analysis and the history of the evolution of the literary subject are of special interest and deserve more extensive research. It is equally curious to compare various plastic approaches to the topics of the tale. In Soviet and post-Soviet Moldova, the book was illustrated by famous graphic artists such as Leonid Grigorașenco, Ilia Bogdesco, Lică Sainciuc, Igor Vieru, Filimon Hămuraru, Andrei Ţurcanu, Anatoli Smîșleaev, Alexei Colîbneac, Simion Zamsa, Elena Karacențev, Sergiu (Serghei) Samsonov and other artists, who have made a remarkable contribution to this fi eld of art. Each book graphic designer has created unique variants of interpreting the illustrated subjects, approaching various artistic techniques and means, compositional and stylistic principles, etc. By studying them, we have the opportunity to compare the creation of these authors. Th us, we have the occasion to meditate on the aesthetic values of current editions compared to previous ones.
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Avramović, Zoran. „KNjIŽEVNE SLOBODE I DRUŠTVENE GRANICE U SRBIJI“. In IDENTITETSKE promene: srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.135a.
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The paper discusses the absolute freedom of literary (artistic) creation. The difference between general and literary freedom is emphasized. In the second part, different boundaries of literary creation in anti-democratic and democratic systems are pointed out. In anti-democratic systems, it is public authority that sets boundaries of artistic freedom, and in democratic systems it is the readers, critics, market, cultural institutions. It is concluded that criticism, condemnation (rejection by individuals and some institutions) of a literary content in democracy does not mean endangering the freedom of literary creation due to the fact that there are many publishers and cultural institutions. The claim of absolute freedom of creativity is also disputed.
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YANG, QIN. „AN EMPIRICAL STUDY ON THE USE OF FOUR IMAGERY THINKING ACTIVITIES IN NOVEL TRANSLATION“. In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35963.
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Abstract. Both literary translation and creation use language to shape artistic images, and artistic images are the crystallization of artistic thinking. Translation is not only cross-lingual transfer, but also conversion of thought. In novel translation, the translator's image thinking plays a vital role because of the characteristics of literary works. By the translation of Charles Frazier’s novel Nightwoods as an example, this paper illustrates how to make full use of four activities of imagery thinking (perception, association and imagination, emotion and harmony) during the translation process. By using of imagery thinking, the translation shows the charm and beauty of original works, and achieves images reproduction of novel character.
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URSACHI, Rodica. „Theoretical and artistic-plastic component in the creation of the painter Nicolae Tonitza“. In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p286-290.
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The creation of the plastic artist Nicolae Tonitza is focused on two components - theoretical and artistic. Theoretically, Tonitza worked as an artistic columnist and publicist for various magazines and newspapers "Cuvântul liber", "Facla", "Socialismul" and others. His chronicles initially had a polemical character with a sociopolitical accent, and later, a "stylistic" one, with a national aspect. The artistic activity is focused on two genres graphics and painting. The thematic register is varied and includes military and social subjects, portraits of children, nudes, landscapes, the reason for the holiday etc. Stylistically, his creation reveals affinities of expressionism, Cezannian cubism, folk art, etc.
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Zhai, Chongguang. „Listening to Spirituality: The Cultural Significance of Chinese Christian Literature--Taking Shi Wei's literary and artistic creation as the center“. In 2017 International Seminar on Social Science and Humanities Research (SSHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sshr-17.2018.73.
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KOLESNIK, Lyubov. „The effectiveness of the competence-based approach to the learning process literary exits of the 19th century“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p106-109.
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This article presents an analysis of the leading approach to the process of researching works of art in the 19th century. In the modern education system, the competence-based approach allows the student to achieve a high level of professional development and social integration. Artistic works, immersed in the cultural space of the era, as a result of this approach to the study of language and literature, act as a link in intercultural dialogue. Creative diverse work with the text as the art of the word involves the co-creation of the author and the reader.
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Bolshakova, A. „THE MISCONCEPTIONS OF ANTIPOETICS: VILLAGE PROSE OF THE TWENTIETH CENTURY IN A PHILOSOPHICAL CONTEXT“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3737.rus_lit_20-21/244-247.
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The article is devoted to the verification of research criteria in the analysis of the leading literary direction of the second half of the twentieth century. The author considers an example of a research misapprehension that occurs both from a distorted interpretation of philosophical foundations (conservatism, as well as traditionalism and soil science), and an underestimation of the poetics of literature, i.e. those artistic means that participate in the creation of a work. As a result, such misconceptions lead to discreditation of the Russian classics.
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AVORNICЕSĂ, Natalia. „Project-based learning as a strategy of developing literary skills“. In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p160-165.
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The project-base learning is a basic method in the context of education sciences and language teaching. However, there are aspects that are not valued in certain pedagogical contexts. This article aims to elucidate the teaching approaches of the project-based learning in the study of French literature by students, future teachers of French as a foreign language. Thus, among the many examples of projects that could determine the development of literary competence are the elaboration of a literary anthology, the creation of a blog, the writing of a collection of quotations for a certain period studied in literature, the elaboration of a dictionary with literary terms specific to a certain century, participation at literary competitions, etc.
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Ghilaş, Ana. „Prose and theatre. A stage vision of director Alexandru Cozub“. In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.19.
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Th e interference of the arts, respectively the inter- and trans-disciplinary methods, constitute the perspectives of approaching the show “Frunze de dor”/”Leaves of Longing” based on the novel of the same name by Ion Druță. Th e stage adaptation and direction belong to Alexandru Cozub, artistic director and fi rst director of “Mihai Eminescu” National Th eater from Chisinau. Th e object of research is the relationship between prose and theater, the forms of theatricality in the narrative literary text and the artistic ways of their scenic realization in the show. In this context, the specifi cs of the artistic vision of the prose writer I. Druță, his style and the way of reception and creation of the scenario by the director A. Cozub, as well as the artistic realization of the show, are highlighted. Th e director preserved the consecutiveness of the development of the action, the main scenes from the lyrical Druțian novel, creating a theatrical discourse in which the transition from epic to dramatic is fully manifested, the authorship and orality being, for the most part, transmitted to the choir or to specifi c characters, thus demonstrating that the voice of the author in the epic work acquires a certain dramatic intensity in the stage action
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Alexandreanu, Anastasia. „Aspects regarding the valorification of the dulcimer in the musical culture from the Republic of Moldova“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.08.
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The dulcimer is a musical instrument with ancient origins. There are several versions about its provenance. In the 20thcentury, national performance schools were opened in several European countries: Hungary, Romania, Slovakia, the Czech Republic, the Republic of Moldova, etc. At the beginning, obviously, the creation of each national school was based on popular art, folk music. The improvisational character of the traditional instrumental music is completed, further developed by the methodical infiltration of academic traditions. This creative process determined the evolution and expansion of the sound universe of the instrument, outlining the characteristics of an individual, unique style of interpretation. The professional academic school of dulcimer performance from the Republic of Moldova is relatively young and is based on methods proposed by famous personalities such as: V. Vilinciuc, I. Grosu, V. Crăciun, V. Sârbu, S. Creţu, V. Copacinschi, V. Roşcovan, V. Luţă, V. Caşcaval and others.
Berichte der Organisationen zum Thema "Creation (Literary, artistic, etc.)"
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Журба, С. С. Інтертекстуальні перегуки та збіжності у прозі М. Хвильового та Ф. Кафки. Акцент, 2007. http://dx.doi.org/10.31812/123456789/6037.
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The purpose o f the article is to research the intertextual literary accordance in the prose o f the Ukrainian and the Austrian artists. The main attention is paid to the problems o f sense o f human existence, reasons o f reincarnation and the way in their literary works. Interlace o f descriptions, episodes open the opportunity to show the accordance, parallels in the literary works o f the writers. Intertextual connections o f M.Khvylovyj’s and F.KaJka's prose extend the content field o f literary works, make the artistic world-image more distinct, and enter the context of modern paradigm o f artistic creation.
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Nezhyva, Liudmyla L., Svitlana P. Palamar und Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4415.
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The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work, the relevance of use of AR to modern educational challenges, and also demonstrated the possibility of immersion into the space of artistic creation and activation of students’ imagination with the help of AR applications. The article demonstrates the possibilities of use AR-technology for the development of emotional intelligence and creative thinking, solving educational tasks by setting up an active dialogue with literary heroes. The basic stages of the application of AR technologies in the literary reading lessons in accordance with the opportunities of the electronic resource are described: involvement; interaction; listening, reading and audition; research; creative work; evaluation. It is confirmed that in the process of using augmented reality technology during the reading lessons, the qualitative changes in the process of formation of the reader’s culture of the students of experimental classes appears, as well as the increase of motivation, development of emotional intelligence and creative thinking.
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Tsepkalo, Tetiana. SOCIAL ROLES AND STEREOTYPES OF FEMININITY IN THE ALMANAC «KURIER KRYVBASU». Ivan Franko National University of Lviv, März 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12172.
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The subject of this research is the social roles and stereotypes of femininity in the almanac «Kurier Kryvbasu». The aim of the study is to conduct a systematic analysis of gender stereotypes of femininity in the literary almanac. The article employs the following methods: theoretical – for studying gender theory, stereotyping, and their application in the analysis of the content of the periodical; systemic-structural analysis – for conducting a systematic analysis of the social roles of femininity in the almanac «Kurier Kryvbasu»; structural-typological – for studying the content and structure of the literary almanac; descriptive method - for interpreting women’s roles and stereotypes. Main findings. The role of gender stereotypes in representing women in the media texts of contemporary Ukrainian writers in the pages of the periodical almanac «Kurier Kryvbasu» has been elucidated. A systematic analysis of feminine social roles, including the beautiful woman, the businesswoman, the happy woman, the sex symbol, and the wife-mother, is presented. The social roles and stereotypes of femininity in the literary almanac «Kurier Kryvbasu» are interpreted according to the classification of G. Kovalova and V. Danilyan. Conclusions. In the almanac «Kurier Kryvbasu», entrenched perceptions regarding women’s model appearance, their frivolity and accessibility, professional inferiority, sexual objectification, competent housekeeping, maternal duties, and the pursuit of illusory «female happiness» in the form of marriage, family, and children are used. However, a trend of feminist rise is observed, where the pages of the magazine describe women’s career successes, self-actualization, participation in military actions, etc. Significance. The analysis of gender stereotypes, both femininity and masculinity, in Ukrainian literary-artistic periodicals is important for the development of the contemporary media sphere, as such research will encourage editorial teams to direct media content towards gender balance and gender equality. Key words: gender stereotypes, social role, femininity, journal, literary magazine, media text.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.
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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.
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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Кучерган, Єлизавета Валеріївна, und Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.
Der volle Inhalt der QuelleAnnotation:
The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.