Journal articles on the topic 'Art, Australian Themes, motives'

Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.

“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.

For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.

The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament

In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.

Purpose The purpose of this paper is to explore factors influencing decision making about disclosure of assisted reproductive technology (ART) use in the workplace. Design/methodology/approach A qualitative study design was used. In total, 31 women and 6 men who were using or had recently used ART were recruited from British fertility networks and interviewed. Data were transcribed verbatim and thematically analysed. Findings Two main strands were identified each encompassing two themes: “Concerns about disclosure” covered the very personal nature of disclosing ART treatment and also career concerns and “Motives for disclosure” covered feeling which was necessary to disclose and also the influence of workplace relationships. Research limitations/implications The relatively small, self-selected sample of participants was recruited from fertility support networks, and lacked some diversity. Practical implications Clarity about entitlements to workplace support and formal protection against discrimination, along with management training and awareness raising about ART treatment is needed to help normalise requests for support and to make decisions about disclosure within the workplace easier. Originality/value The study has highlighted an understudied area of research in ART populations. The data provide insight into the challenging experiences of individuals combining ART with employment and, in particular, the complexity of decisions about whether or not to disclose.

This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argued that Ecce Homo connects traditional Christian motives such as the love for one’s neighbor, (self)sacrifice and charity to queer concepts such as the instability of gender and sexuality and the destabilizing potential of ‘darkness’ as an aesthetic theme. As queer and Christian concepts inform each other they are given meaning in relation to each other, thus indeed (for the most part) suggesting that queer and Christian themes are relevant to one another and sometimes overlap.

In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’. This motive is determined by the principal role of psychologism in the early poems of the symbolist, the ‘sounding silence’ emphasizes the state of the inner world of the hero, who is always detached from reality and is reflecting on the essence of life and death. The connection of the motive of the ‘sounding silence’ with gothic symbolic range is considered, which is characteristic for the first books by Balmont. In his mature lyrical poetry, the moon is associated with the theme of music, which has a lot of connotations. Firstly, the music of the moon correlates with the traditional motives of poetry and art. In the book Let’s be Like the Sun the world is on the line between lunar silence and melody of strings, which the poet uses to play his odes to the orb of the night. But in mature poetry in the books Only Love. Seven-color Flower, Liturgy of the Beauty. Hymns of the Elements and Sonnets of Sun, Honey and Moon. The song of worlds lunar music is connected with themes of fairy tale, magic, love, dream and phantasy, but at the same time with motives of the illusion, unfeasible reveries, death, specularity and ghostliness. Particular attention is paid to the connection between the motive of lunar music and the philosophy of music of the senior symbolist and his spontaneous mythology. No less important is the functioning of this motive in the poem The Moon, dedicated to the cosmogonic myth of the creation of the world, where moon music is related to the themes of archaic mythology and the motives of initiation, death, rebirth and transformation into a deity.

Western Arnhem Land is a small area (by Australian standards) on the north coast where remarkable sequences of sediment illuminate its complex landscape history. Matching the enviromental succession is an archaeological sequence with lithic sites running back into the Pleistocene. The famous richness of the region's rock-art also documents the human presence, again over a great time-depth, and gives a direct report of how ancient Arnhem Landers depicted themselves. By ‘bridging’ between these three themes, a rare and perhaps unique synthesis can be built.

The main moral and religious themes of J. Tolkien`s novels “The Lord of rings” and “The Silmarillion” are observed in the article. It is analyzed that Tolkien followed Christian tradition, sharing st. Augustine`s conception of evil as the absence of good. It is clarified Tolkien`s anti-Nietzschean position where evil is equal to the will to power, while the good is associated with humility and serving. It is shown an author`s interpretation of Socratic classic inquiry: would people live virtuous life if they achieve omnipotence and why moral life is preferable than immoral one. According to Tolkien, human moral obligations are closely connected with the awareness of freedom and mortality which are regarded as a giftto a man, enabling to escape from senseless “badinfinity” (Hegel) of material determinant existence. In its turn, a notion of “gift” refersto metaphysical model of world that assumes divine being and his providential intervention in the course of earthly history. One of this divine providence`s manifestation is so called “eucatastrophe”, unexpected salvation from tragedy, therapeutic consolation that returns to a man the feeling of meaningfulness and joy of being. It is suggested thatsalvation can be interpreted in romantic way as coincidence point of trajectories of art and nature, where fairy tale embodies in life, and life starts to be built according to the laws of fairy tale.

Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.

Aim/Purpose: It aimed at investigating the motives and challenges of 15 mature-aged doctoral students at two education faculties in Australian and Asian contexts. Background: This cross-border research collaboration investigated the first international higher-research forum between two education faculties in Hong Kong and Australia. Methodology: Interpretative Phenomenological Analysis (IPA) was used to explore partic-ipants’ self-reported experiences concerning the motivations and challeng-es of 15 mature-aged doctoral students. Contribution: The findings have important implications for global doctoral program de-velopment, international exchange forum organizations, intercultural capaci-ty building, academic enhancement and cross-border research collabora-tion. Findings: From interview data four overarching themes emerged: Taking calculated risks, Determination to succeed, Financial stress, and Balancing life and research. Recommendations for Practitioners: Recommendations include mentoring schemes, greater support for isolated students, and more opportunities for students to complete their PhD by publication. Recommendation for Researchers: More research is needed to investigate mature-aged students’ motives for embarking on study in diverse cultural contexts among different ethnic groups. Impact on Society: This study recognized the merits and potentials of mature students whose research contributes to their societies. Future Research: Future research directions include using multiple case study design, thus exploring diverse aspects of the existing sample in greater depth, as well as tapping into a new sample of students at risk of attrition at both faculties.

As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.

AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

Danila Vassilieff(1897–1958) was a Russian émigré artist who lived and worked in Australia. By far the largest and most significant part of his painterly and sculptural oeuvre Vassilieff executed on Australian soil, in the states of New South Wales and Victoria.This article explores Vassilieff’s visual arts ideas and idiom created within the parameters of his Russian and Slav cultural memory and characterised by his émigré experience. It argues that Vassilieff’s art was fully formed only after the artist’s experiencing anexistence of a permanentémigré in Australia and that both his ideas andhis idiom flourished in opposition to the cultural traditions of his new environment.Vassilieff’s relationship with his Russian and Slav cultural heritage was traced in the monograph Imaginary homelands, the art of Danila Vassilieff(Bojic2007). This essaycomplements the extant research by examiningVassilieff’s relationship with his Australian environment as reflected in his work. Vassilieff’s experience of a permanent émigré formed his visual arts idiom and provided for the large pool of themes and topics in his work. Much of his oeuvrebridgedthe varied cultural traditions of his Russian homeland and the hardshiphe experienced living in a barren Australian land. There weretwo reasonsfor this. One was the artist’s positionof being an émigré; the other was that of being an artist. His initial alone-ness in a new Australian environment allowed for his one-ness and thus contributed to the uniqueness of his expression and his oeuvre, recognised as such later on by his Australian peers. Thechronic trauma of being a permanentémigré was a continualfeature of Vassilieff’slife and of his work. Hisdeep feelings ofnostalgiawerean essential quality of his existence in exile.The artist himself would attempt to counterbalance 19this with his all-pervasive energetic good will and his refined sense of humour and sweet ironyon occasions leading into a sarcasm, evident in many of his works.

Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.

If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.

Автор определяет значение ботанических исследований и связанного с ними жанра ботанической иллюстрации для эволюции отечественного и зарубежного декоративно-прикладного искусства (ДПИ) эпохи модерна. Материалами выступают мемуарная литература, альбомы ботанической иллюстрации, ряд научных разработок, отраженных в обзорных монографиях по истории и стилистике ар-нуво, а также результаты прикладных исследований. Изучены зарубежные выставки садоводства рубежа XIX–XX вв., охарактеризованы своды произведений ботанической иллюстрации и издания по дизайну, относящиеся к этому периоду. Выявлены флоральные мотивы в творчестве отечественных и зарубежных мастеров ДПИ. Установлено, что флоральные сюжеты ар-нуво возникли во многом на фундаменте открытий ученых-ботаников и ботаническая иллюстрация явилась основой для соответствующих художественных мотивов. Использование в произведениях ДПИ эпохи модерна растений служило своеобразным средством популяризации и сохранения природного наследия. The author reveals the importance of scientific research in the field of botany and plant acclimatization, as well as related works of botanical illustration, for the development of certain branches of arts and crafts of the Art Nouveau Era in Russia and abroad. A wide range of materials is used: memoirs, albums of botanical illustration, a number of scientific developments reflected in overview monographs on the history and style of Art Nouveau, the results of applied research by art historians, philosophers and specialists in the history of architecture and arts and crafts. The author proceeds from the thesis about the synergy of science and art, which presupposes the consideration of these two forms of understanding objective reality (and the corresponding methods and types of activity) as closely related objects. The author employs diachronic, systemic-historical and historical-genetic methods, as well as iconographic techniques and methods of researching the symbolic content of works. The main idea of the research is to trace and reconstruct the links between developments in the field of scientific gardening at the turn of the 20th century and the development of floral themes in the arts and crafts of the Art Nouveau Era. An exhibition of horticulture, which took place during this period in Western Europe, is considered; and plant species that were popular among specialists engaged in their acclimatization and cultivation are established. Collections of works of botanical illustration and publications on design, published during the period under study, were analyzed to identify the sources of creative searches of European Art Nouveau artists. Attention is paid to the Paris World Exhibition of 1900, which took place at the dawn of the Art Nouveau Era and was a platform for demonstrating the main trends in the development of European art. Floral motives in the works of Russian and foreign jewelers, ceramists, glassblowers and architects are revealed; the degree of their realism is determined, which serves as an indicator of the connection between artistic embodiment and natural prototype. It has been established that the floral plots of Art Nouveau arose largely on the foundation of the discoveries of botanists, and botanical illustration was the basis for the corresponding artistic motives. Knowledge in the field of plant morphology opened new contexts in the iconography of the artistic heritage of Europe and Russia. The use of plants in the works of decorative and applied art in the Art Nouveau Era served as a kind of means for popularizing and preserving natural heritage.

Large-scale urban soundscape systems offer novel environments for electroacoustic composers, sound artists and sound designers to extend their practice beyond concert halls, art galleries and screen-based digital media. One such system with 156 loudspeakers was installed in 1991 on the Southgate Arts and Leisure Precinct in central Melbourne. Over the next 15 years another three large multichannel soundscape systems were installed on other sites close to the first. A fifth system was established for a single work of art in 2006. Despite this private and public investment in sound art estimated at over one million Australian dollars, several systems are no longer in operation while some remaining systems require technical and curatorial development to ensure their continued cultural presence. To investigate why some systems had failed, interviews were conducted with key players in the development and operation of the five systems. A report from the interviews was produced and is the basis of this paper framing critical issues for improving models of urban soundscape practice. Following a brief overview of related studies in urban sound practices, and descriptions of the system and original study, key themes that emerged from the interviews are examined.

In this paper we examine the role of postcards in disseminating and circulating Australian frontier myths. Cultural geographers have generally overlooked this mode of tourist communication. Yet, the postcard is an example par excellence of both a genre of popular art and an ephemeral cultural artefact. The ritual practice of selecting, writing, and sending a postcard is explored within the themes of souvenir, testimony, and anticipation. A report is provided of methods designed to reveal how individual tourists interpret these postcards as semiotic texts. Results suggest that postcards seem to perpetuate, almost unchallenged, experiences associated with Australian frontier mythologies. The Kimberley is experienced as a remnant of a former pristine environment and a place uninhabited or, at best, inhabited by ‘primitive’ people. This version of the Kimberley relies upon many of the categorical binaries between society and nature; human and animal; civilised and wild. The silences and priorities created by such textual imagery in the public geographical imaginary are argued to be far from trivial in a place subject to native land claims and proposed extensions to irrigation schemes.

Australia has a proud history in the development of rust-resistant wheat, a history that has evolved with the development of knowledge of host–pathogen genetics and the continuing transition of plant breeding from an art to science. William Farrer, who migrated to Australia to relieve his problem of tuberculosis, witnessed rust problems on farmers’ fields and addressed the problem as a private individual. Before the rediscovery of Mendel’s principles of inheritance he, like contemporaries in other countries, appreciated that variability was present and was inherited such that different traits could be recombined. He appreciated that there were 2 separate rusts and that both, particularly the less frequent stem rust, had to be present for effective selection in breeding programs. The University of Sydney has the oldest Faculty of Agriculture in the country and one of its first graduates initiated, in 1921, studies on cereal rust pathogen variability, host resistance, and resistance breeding. That program continues to the present time with the recurring themes of pathogen variability, host resistance, and the best ways of achieving lasting resistance. Until the 1970s, most of the knowledge of rust variability at the national level was applied to the University’s breeding program, targeted to prime hard-quality wheat for northern NSW. Following the 1973 rust epidemic in southern Australia, a National Wheat Rust Control Program was initiated, and it has evolved through several steps to the present Australian Cereal Rust Control Program with international dimensions. This paper reviews some of the history, development, applications, and achievements of 88 years of cereal rust research.

The article describes and systematizes biblical plots characteristic of the Siberian text in Russian culture. The colonization of Siberia was accompanied by the Christianization of its autochthons. The influence of the church on the formation of the local literary tradition was very strong. The regional specifics of Siberia (nature, history, ethnos) influenced the selection of biblical motifs and plots in the works about this space. The comparative approach made it possible to identify and chronologically organize the following biblical themes paradigmatic for the Siberian text: apostolic / missionary. Christological initiation, exodus, the prodigal son. Biblical stories related to Siberia were inverted over time, and religious semantics were supplanted by other topics. The single core that allows to amalgamate these plots and motives is the idea of transformation (of oneself, another person, space). Hypothetically, each plot has its own period of maximum productivity, followed by a recession. The missionary plot and the plot of Christological initiation were revised in the 17th century and remained productive until the end of the 19th century. The narrative of the search for Belovodye, isomorphic to the exodus of Jews from Egypt, arose at the end of the 18th century. It was active until the end of the 20th century. The motive of the prodigal son was relevant in the middle of the 19th century in the work of the regionalists and, later, their heirs. Globalization and informatization processes and the blurring of spatial and cultural boundaries gradually make this plot irrelevant. It is possible to expand the “canonical” spectrum of biblical images, motifs, and plots for the Siberian text by engaging new material.

Arts-based approaches have not been widely used in the drug and alcohol treatment sector. In this study, we examined the utility of the arts-based method of Body Mapping in an Australian residential treatment centre. Two workshops were held to explore young people’s strengths and support networks in order to improve understandings of young people’s lives, identities and experiences of treatment. Semi-structured follow-up interviews were conducted and triangulated with observational notes and staff interviews. We identified four major themes: engaging through art; removing the mask; revealing strengths; and a sense of achievement. Overall, this study highlighted the value of Body Mapping as an approach to engage with young people, providing rich in-depth data about their lived experiences, including in the alcohol and other drug (AOD) treatment context.

The unity of the problematics and the author’s principles of composition of the collection of N. V. Gogol “Arabesques” (1835) are investigated. The unobvious unity and integrity of the writer’s poetic encyclopedia — “Arabesque” — become apparent through the coverage of the cross-cutting themes and motives of the cycle, the numerous interconnections and overlaps between the articles, essays and stories included in the collection. It is established that the organizing beginning of the cycle is the writer’s reflections of a religious and political nature. From the point of view of this main component, all eighteen works of the collection are analyzed in detail. For the first time, the influence of spiritual literature — the lives of saints, patristic works, the significance of the articles of “Philokalia” — a well-known collection of works on the prayer-contemplative experience of monastic life — is highlighted in the early works of Gogol. The spiritual aspect of the writer’s reflections on history, arts, folk art, world literature, poetry of A. S. Pushkin is noted. Gogol’s polemic with the positions of one of the founders of German romanticism, V. G. Wackenroder, is touched upon. The problems posed in the collection of the opposition of old age and youth, “sensual” life and the poetry of spirituality are analyzed, the image of the “fragmentation” of life as a distinctive feature of modernity is traced. The organic correlation of “Arabesques” with the previous and subsequent works of the writer is revealed — with the youthful poem “Ganz Kuchelgarten,” with the cycle “Mirgorod,” with “Dead Souls,” “Theatrical tour after the presentation of a new comedy,” “Selected passages from correspondence with friends” and etc. The author emphasizes the consistency of the writer’s creative path and the integral spiritual and moral character of his legacy.

Anita Desai (1937- ) is a contemporary Indian novelist, short story, and children's books writer. She introduces psychological novels to India. Her works are highly symbolic. In her novels, she discusses cultural themes like the clashes of Eastern and Western cultures and the conflicts between Indian cultures and religions. In In Custody (1984), she discusses many cultural themes focusing on the death of the old valuable culture of India after Partition and the birth of a new culture. In In Custody (1984), Desai depicts the changes that India has witnessed in post-colonial period. She focuses on the ruined ancient Indian culture which has been replaced by a new materialistic one at the hands of the British colonization. She concentrates on the death of art and poetry specially the death of Urdu poetry and language which are associated with the glorious culture once India had in the past. Deven, the protagonist, whose ambition is to be a great poet in Urdu is forced to teach Hindi instead of Urdu which is rarely used. The novelist narrates the journey of Deven who struggles to revive Urdu poetry by interviewing the famous Urdu poet, Nur. Deven faces many obstacles during his journey. These obstacles are represented in the change India has witnessed and in the change of people's motives and mentality. The paper discusses the influence of the Partition and the British colonialism on the Indian culture and the change India witnessed due to the Partition between Muslims and the Hindus.

The Russo-Turkish War of 1877–1878 spawned a request from both the government and the public for an appropriate pictorial representation to be evaluated in the categories of ‘high art’, a request which revealed the inability of the predominant aesthetics to be satisfied. The paintings on the subjects of the preceding Balkan Crisis of 1875–1876 easily appealed to the existing reserve of descriptive means in primarily appealing to Orientalist motives by using the international Oriental-artistic language. In this case, painters such as K. Makovsky or V. Polenov did not need to resort to some inversions in the “Turkestan Series” by V. Vereshchagin: the developed artistic language allowed the conveying of the desired content without loss. On the contrary, attempts to present pictorial representations of the Russo-Turkish War found that the old military art was no longer perceived as genuine “art”. Thus, in not being regarded as a proper fixation of “memorable events”, the prevailing new aesthetics was unable to convey the pathos and heroics desired by the authorities. At the same time, it was found that a strong aesthetic effect in military plots was achieved through “seriality”, the interpretation of similar plots as isolated and independent. However, this did not produce a significant effect, that is to say, painting as such was not self-sufficient since it required the assistance of the text, the sequence of images, etc. The problem was reduced significantly with the new aesthetics of the 20th century, and in the last decades of the 19th century, in connection with mentioned above difficulties of painting, historical plots acquired new value, providing new opportunities for the representation of heroic themes while simultaneously giving greater aesthetic freedom.

The research is devoted to the book of poems by Sergei Alymov “Kiosk of Tenderness”, which was published in Harbin in 1920 and was of high quality. We focus on the structure and decoration of the poems’ book “Kiosk of Tenderness”. We also consider in detail individual texts in order to identify features that are characteristic of Sergei Alymov’s poetics. The analysis of the composition of the poetic book showed that such features of avant-garde poetics as a tendency to internal rhymes, the use of occasionalisms, rich sound writing, and paronymic attraction can be traced already in the titles of the book’s sections. We trace the influence of futurism, symbolism, acmeism (in particular, V. Mayakovsky, I. Severyanin, N. Gumilyov, A. Blok) on the poetics of Sergey Alymov. Exploring Alymov’s individual texts, we also talk about their rhythmic features, in particular, we dwell on the appearance of caesura and peonic rhythm in the poems of the Harbin poet. All this allows us to say that Alymov’s poetry was not only imitative, since he mastered the subtle nuances of poetic technique, but also reveals Sergei Alymov as an outstanding poet. “Kiosk of Tenderness” has a complex compositional structure, poems included in various cycles are closely interconnected both thematically and similar techniques that the poet uses. Poems that remain separate are also associated with other texts with common motives, a constant repetition of erotic themes and associations, the appearance of references to various cultural phenomena, authors and their works, and the saturation of texts with colors. The coloristry of the book is complemented by the artistic design – the cover by Nikolai Gushchin, an artist who left a big mark on the art of Russian emigration. Part of the work we devoted to the study of the meaning of the figure of the artist, whose painting has become a kind of addition to the poetic world of Sergei Alymov. Here we largely rely on the memories of N. Gushchin of our teacher, Yury Nikolaevich Chumakov. We also attract other studies and memories of Gushchin, who left a big mark on the art of Russian emigration, but was almost forgotten after returning to the USSR.

This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

In recent years, STEAM (Science, Technology, Engineering, Art, and Mathematics) has received wide attention. STEAM complements early childhood learning needs in honing 2nd century skills. This study aims to introduce a loose section in early childhood learning to pre-service teachers and then to explore their perceptions of how to use loose parts in supporting STEAM. The study design uses qualitative phenomenological methods. FGDs (Focus Group Discussions) are used as data collection instruments. The findings point to two main themes that emerged from the discussion: a loose section that supports freedom of creation and problem solving. Freedom clearly supports science, mathematics and arts education while problem solving significantly supports engineering and technology education. Keywords: Early Childhood Educators, Loose-part, STEAM References: Allen, A. (2016). Don’t Fear STEM: You Already Teach It! Exchange, (231), 56–59. Ansberry, B. K., & Morgan, E. (2019). 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The text will follow the appearance of the first children's works in the Macedonian literary XIX century. Their significance, despite the fact that they do not have high aesthetic values, is neverthelessgreat, because they respondedto theneeds of the time. Furthermore,they give us the opportunity to determine the continuity ofdevelopment of Macedonian children's literature, which has primary importance for the mental, emotional and educational developmentof children. We note,especially inthe last few years,thatthe interest forchildren's literatureis great, both by authors and bypublishers, who have started republishing works. Thisconfirms the universality of children's literature, with its timeless themes and motives which are interesting, intriguing, attractive, fun, fulfilling their ultimatepedagogicalfunction, directing the child towardsbetter life principles.Up until the Enlightenment, there was no interest in the child, except for thesolitary manifestations by John Locke, Jan Amas Komensky and Jean-Jacques Rousseau. A real interest in the child was shown in the time of Romanticism. Withinthe Macedonian cultural development there is an interest shown in children during the Enlightenment, at the beginning of the XIX century.Thefirst books published in the vernacular were intended for adults, but at the same time provided directionsfor better upbringing of children. The first authors of children's works,among the series of their activities, were collectors of folk art whowerealso engaged in education. Authors of the so far discovered works for children are Partenija Zografski, Jordan Hadzi Konstantinov Dzinot, Grigor Prlichev, Evtim Sprostranov, Tomo Sminjanic Bradina, and we will also acknowledgeMarko Cepenkov

For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.

This article deals with Stevan Mokranjac?s fifthteen garlands (rukoveti), which are commonly regarded as the national project in Serbian art music that was accomplished through the producing of the tradition of the Serbian folk song. The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and especially those aspects of this theory through which the articulation of a national identity activates connections with pre-modern myths, recollections and collective symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections. With his project Mokranjac created a rich network of ethno-symbols associated with the themes and motives of both rural and semi-urban communities that were characterized by their preservation of the model of patriarchal culture. Their strong attachment to ?ethno-history? as well as ?symbolic geography? produced various ?ethno-scapes?, which established an increasingly symbiotic context of a ?naturalized? community and ?historicized? nature and territory. Mokranjac presented them as a representative sample in the process of legitimizing national consolidation and homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac?s garlands. The connection between his fieldwork and his compositions is also problematized. Mokranjac?s garlands are distinguished by their inclusiveness and a constant blending of older and newer ethno-historical elements, with an aim of constructing a unique tradition of national song, as an integral time-and-space image of the nation. Through this dimension of collectivism we can observe Mokranjac?s close connection to the patriarchal culture, as it remained an important ethno-symbolist element in both the politics and the poetics of his artistic project. At the same time, it provided a platform for free invention when it came to the more advanced stages of composition, when the patriarchal culture would be subjected to transfiguration by his individual creative imperatives. Mokranjac?s Garlands were the first works in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the framework of Serbian art music.

The joys of the Czech avant-garde.On the amalgamation of literature, art and philosophy based on the examples from the works of Jindřich Štyrský, Toyen,Vítězslav Nezval and František DrtikolThe article points out some recurrent themes in the literary and artistic works by the repre- sentatives of the Czech avant-garde of the first half of the twentieth century. It is primarily about the motives of sleep, life, death and eroticism recognized most often in iconoclastic conventions, often on the borders of pornographic description and violating the taboo of eroticism, pleasures of the flesh and religion. In the case of Štyrský, among other topics, the theory of artificialism for- mulated by him and Toyen is discussed. The theory had a close relationship with the poetry, prose and art by this author. On the other hand, based on the example of Nezval, an image of literary pleasures is presented, associated with the often actuated by the author issues of first love and erot- ic sensations. In the end, the figure of František Drtikol is outlined — the creator of photographs, which often depict threads of femme fatale and scandalous nude crucified women.Rozkoše české avantgardy. O fúzi literatury, umění a filozofie na příkladu tvorby Jindřicha Štyrského, Toyen, Vítězslava Nezvala a Františka DrtikolaČlánek poukazuje na stálé motivy v literární a umělecké tvorbě představitelů české avant- gardy první poloviny 20. století. Jde především o motivy snu, života, smrti a erotiky, chápané nejčastěji jako obrazoborecké a nacházející se často na hranici tělesné rozkoše, náboženství a por-nografického obrazu, jenž prolamuje erotická tabu. V případě Štyrského půjde mj. o teorii artifi- cialismu, kterou zformuloval spolu s Toyen. Na příkladu Nezvala bude nastíněn literární obraz rozkoše související s problematikou prvních milostných a erotických zkušeností, které se autor často dotýkal. Závěr příspěvku přiblíží osobu Františka Drtikola — tvůrce fotografií, na kterých jsou často vyobrazena témata osudových žen a skandalizujících aktů ukřižovaných žen.

“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.

«Paul Claudel interroge le Cantique des Cantiques» («Paul Claudel questions the Song of Songs») is a landmark work in the oeuvre of Paul Claudel (1868-1955), it is one of the largest artistic and exegetic commentaries in the collection of prose «Le Poëte et la Bible» («The Poet and the Bible») (1998, 2004). The writer creates a new «Claudelian novel» in Bakhtin’s understanding of the novelistic word, based on the centuries-old tradition of multiple interpretations, on the one hand, but built into a work of art, on the other. Claudel draws on his experience of reading the Vulgate, working with concordances and the works of the Fathers of the Church, updating the text of the Holy Scripture through the prism of his work. The artistic world of prose allows us to trace themes, motives, images, as well as the style of working with the text in Latin. Upon finishing his work on the commentary, Claudel makes his own translation of the Bible. It reveals the principles that Lemaistre de Sacy and Fillon adhered to, as well as the typical Claudelian methods of translation, which the writer stated in his discussions about language, French verse and orthography. The translation becomes part of the work: the interpreter places it at the beginning of each chapter. Claudel makes a new translation, pursuing other goals: he does not translate the Bible from the sacred language into the profane language, he translates it into the «Claudelian», adding the meanings that he puts into the text himself, which develops in the second part of each chapter – a poetic commentary.

This article examines the poetics of the poems of the poet, philosopher, folklorist Mashkhur Zhusup Kopeev of the educational direction. The purpose of the article is to study the poetics of the poet's works of an educational direction in accordance with modern requirements, to popularize the educational aspect of the poet. Since the works of Mashkhur Zhusup, who made a significant contribution to Kazakh literature, were classified by genre, a number of scientific works were researched and written, the relevance of a separate consideration of works of educational orientation has not disappeared. The works of this direction were considered together with poems on religious themes, propaganda themes, and social motives. It can be noted that the works of the poet of the enlightenment direction have their own significance in literature. The research has a scientific, practical significance. It can be used in the courses «Mashkhurtanu», literature lessons, local history of the early twentieth century and in general on the theory of literature. Mashhur Zhusup is a poet who wrote in all areas of the genre of literature. Starting with poetry and focusing even on heavy epic works, he left behind major sagas. After all, the works of a scientist who left a twenty-volume legacy are not limited to prose. Although several scientific works on the poet's work have been written, I still cannot say that they have been fully studied. Since the subject matter of the left heritage is very extensive, the genre character is complex, rich in artistic features, deep consonance with Eastern Turkic literature, the activity of collecting samples of oral folk art, the main idea of his works, the study of his work require many years of painstaking work. The work of this rich heir, which is the basis of our current scientific work, is a drop of great work. The picture of the social situation of the early twentieth century formed the basis of the works of representatives of that era. Because literature is a mirror of life. The desire for freedom, liberation, the appeal of the population to reading, education, science, political and social problems have become an urgent problem for every nation. Immediately, as to rid the people of this idiocy, he adhered to the idea that reading is knowledge. I tried to «wake up"» the people. From this point of view, it should be recognized that the literature of the early twentieth century is the literature of the liberation aspiration, the «awakening» of the people. Mashkhur Zhusup did not refrain from these questions either.

S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.

The article explores the features of documentary works of art, in particular letters, articles, travel notes, newspaper publications, photo and video materials, which formed the basis of the travelogue «Travelling: Russia» by the Greek writer Nikos Kazantzakis. It describes his trips to the Soviet Union in the 20s of the XX century. A complex of themes and motives typical of travelogue, topos is considered, topographic plots focused on the presentation of facts and situations are highlighted. The subject of the image in travel notes and feature articles by N. Kazantzakis is practically everything that he sees and realizes / perceives and, of course, describes: topographic environment, the beauty of nature, mode of life, social relations and the psychology of people. The wandering figure, breaking away from usual life, overcoming the barrier of existence, which forces the author and readers to experience borderline states, ask extreme questions, seek for the answers, fulfilling the mission of the travelogue. Getting into other, unfamiliar conditions, the traveller either gets used to them, or evaluates them, transforming them for himself and for the others. Travelogue N. Kazantzakis «Traveling: Russia» does not always adequately reflect the real space of travel. The repeating routes of Greece – Odesa – Kiev trips by sea and further by rail receive different irradiation depending on optimistic (at the beginning of his philosophical and religious journey) or catastrophic with a touch of disappointment (at the end of his ideological search) premonitions of the author. So, the construction of the travelogue of the Greek writer was greatly influenced by previous trips to the same places. Nikos Kazantzakis often refers reader to facts of history, to cultural codes, to ideological oppositions, to personal memory. Oppositions Europe/Greece – Russia, Vienna – Odesa, Greeks – Russians / Ukrainians – Jews are interpreted nominally in the article, the main task of the writer seems to be a way out to the existential principles of the structure and transformation of person.

The article deals with the introduction of performances of theatrical musicals into the educational process of preparing future art teachers on the artistic faculty of the Centralukrainian State Volodymyr Vynnychenko Pedadogic State University. Illuminated positive impact of such an introduction on the quality of professional training of students. The motivational approach to the meaningful responsibility of students for training is revealed when they carry out self-control over the process of acquiring the necessary knowledge and skills and become fully responsible for the quality of learned material. All this greatly increases the creative activity of students, prompts them to self-studying and self-development, forms an active life position. The role of a teacher in this system of educational process is the role of the coordinator. He carries out a general leadership of the educational and creative process, acts as a consultant, an assistant, and most importantly – he is a professional-mentor, a senior mate who helps students to master the whole complex of knowledge, skills and abilities. In such motivated training, it is necessary to point out initial goals, determined by the teacher, which coincides with the educational motives of students. Only under such conditions, academic actions of the students will be transformed into conscious educational activities, the motivation of success will be created. That is why students study on the basis of partnership in the chorus studio. They make their proposals for project themes, develop the concept, choose the form of material presentation, create scenarios and are interested in preparatory and organizational work, as well as independently choose the direction of its own educational activity within the project – write or distribute musical solos and choral parties, make them choral. Arrangement or perform computer arrangement of musical accompaniment, etc. Execution of such a work not only reveals existing knowledge of students on the relevant educational subjects, but also requires mastering new knowledge and skills, assimilating the material of new educational subjects that are needed to implement the plan.

Purpose The purpose of this paper is to empirically test whether corporates, via publicly disclosed sentiment and in response to government initiatives such as domestic corporate tax reform measures that address transparency, are beginning to view tax as a fourth dimension of corporate social responsibility (CSR). Design/methodology/approach To determine whether corporate attitudes towards tax are changing, representations about the corporate entity by a variety of stakeholders and through numerous channels were analysed using Leximancer software. These representations were in response to four distinct Australian domestic tax reform measures instituted during and subsequent to the Australian Government Senate Inquiry into corporate tax avoidance. The use of Leximancer, a data-analysis and mapping software that automates the coding of document text, delineates concepts and identifies themes, is well suited to the nature and size of the data used (Lodhia and Martin, 2011) and ensures the validity and reliability of the results (Dumay, 2014). Findings This paper provides evidence on the efficacy of global and domestic tax-reform measures that target tax avoidance through transparency. This is demonstrated by a progressive change in corporate attitudes towards tax and suggests a transition, albeit nascent, from the aggregate view to the real entity view of a corporation. As such, this study provides evidence of the inception of a corporate conscience when it comes to tax, whereby tax is instituted as a fourth dimension of CSR. Research limitations/implications Using a theoretical framework which adopts the historically accepted views of the firm, the authors argue that a shift from the aggregate view to the real entity view of a corporation will have the following implications: an expansion of the dimensional factors of CSR (economic, social, environmental and tax); a new standard or definition of corporate responsibility which encompasses both legal and moral considerations and has transparency at its core (Narotzki, 2016); and a new outlook where consumers realise that they have the power to influence and demand action from corporates. Originality/value This paper uses state-of-the-art software to empirically test the efficacy of global and domestic tax reform measures that target transparency, ultimately providing evidence supporting the adoption of these measures and the recognition of a new dimension of CSR, tax.

В бытовавшем в устной форме якутском героическом эпосе издавна сохранялись и передавались утвердившиеся темы, традиционный состав героев, каноны сюжета, композиции в содержании, постоянные стилистические формулы в языке. Однако сколько было олонхо, столько они были разные, и тем они привлекали слушателей, знатоков устного народного творчества, исследователей. Каждый олонхосут мог обогатить установленное содержание олонхо разными приключениями богатырей, основной традиционный образный состав героями с новыми именами, украсить постоянные языковые формулы новыми художественновыразительными средствами или могли чтото пропустить, упростить. Изучая отличия текстов якутских олонхо, принадлежащих разным регионам, исследователи якутской фольклористики утверждают, что олонхо, в зависимости от территории бытования, имеет региональные особенности. Так фольклористами признано существование трёх территориальных традиций центральной, вилюйской и северной. Феномен устойчивости региональных особенностей якутского олонхо в науке до сих пор остается быть актуальным. В статье ведется сравнительный анализ олонхо трех регионов на примере олонхо центрального региона Ёлбёт Бэргэн , олонхо вилюйского региона Кёр Буурай , олонхо северного региона Кётёр Мюлгюн с целью выявления их отличий, особенностей, внесения дополнительных предположений в подтверждение ранее выявленных исследователями утверждений. Результаты анализа методом сравнения привели к выводу, что олонхосуты всех трех регионов следуют образцу сюжетнокомпозиционной структуры якутского эпоса олонхо, так в их олонхо присутствуют мотивы древних олонхо, как описаний героических походов богатырей айыы ради спасения девушек айыы, их сражений с богатырями абаасы, победы, сватовства на спасенной женщине, возвращения на родину со славой победителя, устройства праздика уруусвадьбы в честь победителей и др. Отсутствие мотивов образования трех миров, установления Среднего мира для жизни племени ураангхай саха, назначения богатыря айыы божествами защитником айыы аймага дает возможность предположить, что во всех регионах бытования олонхо постепенно идет упрощение некоторых древних мотивов олонхосутами более позднего периода. The orally existing Yakut heroic epic has long preserved and transmitted established themes, the traditional composition of heroes, plot canons, compositions in content, and constant stylistic formulas in the language. However, how many olonkhos were, they were so different, and so they attracted listeners, experts in oral folk art, and researchers. Each olonkhosut could enrich the established olonkho content with various adventures of the warriors, the main traditional figurative composition with heroes with new names, decorate permanent language formulas with new artistic expressive means, or they could miss or simplify something. Studying the differences between the texts of the Yakut olonkho belonging to different regions, researchers of the Yakut folklore argue that olonkho, depending on the territory of existence, has regional features. So folklore recognized the existence of three territorial traditions: central, Vilyui and northern. The phenomenon of stability of regional features of the Yakut olonkho in science still remains relevant. The article provides a comparative analysis of the olonkho of the three regions using the example of the olonkho of the central region Elbet Bergen, the olonkho of the Vilyuy region Ker Buuray, the olonkho of the northern region Kyotor Mulgun with the aim of identifying their differences, features, and introducing additional assumptions to confirm the allegations previously identified by the researchers. The results of the analysis by comparison led to the conclusion that the olonkhosuts of all three regions follow the pattern of the plot and compositional structure of the Yakut epic olonkho, since their olonkho contain motives of the ancient olonkho, as descriptions of the heroic campaigns of the aiyy heroes in order to save the aiyy girls, their battles with the abaasy heroes, victory, matchmaking to a rescued woman, returning home with the glory of a winner, arranging a Uruu wedding in honor of the winners, etc. The lack of motives for the formation of three worlds, the establishment of the Middle World for tribal life Uraanghay Sakha purpose athlete aiyy protector deities aiyy aimaga makes it possible to assume that in all regions of existence olonkho is gradually simplifying some ancient olonkhosut motives of a later period.

Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.

Введение. Впервые предпринятое исследование лирического сюжета «Юбилейного» ведет к пониманию произведения как поэмы, обнаруживает в ее основании динамику преодоления тяжелейшего душевного состояния героя в процессе виртуального ночного общения с Пушкиным перед памятником ему на Тверском бульваре. Цель работы определяется необходимостью выявления внутренних координат самоидентификации героя – главных линий лирического сюжета, мотивов, их определяющих, смены импульсов-тем в монологе, а также компонентов и приемов комического. Методология исследования определяется комплексом историко-генетического, историко-функционального, сравнительно-исторического методов. Результаты и обсуждение. Основные результаты работы связаны с преодолением традиции отечественного маяковсковедения называть «Юбилейное» в ряду многочисленных стихотворений-«разговоров» поэта, выделять его лишь в связи с конкретным событием – 125-летием со дня рождения Пушкина. Новые перспективы исследования открываются с учетом того, что «Юбилейное» создано в непосредственной временной близости к поэмам «Про это» и «Владимир Ильич Ленин» с важной в них темой метафорической или реальной смерти, проблемой бессмертия и лирическим героем, в ментальных поисках преодолевающим границы реального пространства и времени. В качестве других оснований исследования рассматриваются трансформации компонентов древнего сюжета видения, коннотации произведений Пушкина и знаков его судьбы, которые воспринимаются Маяковским-героем как реплики великого поэта-предшественника в мысленном диалоге с ним. Заключение. Анализ поэтики «Юбилейного» показывает специфически авторское использование автором множества речевых приемов комического в самохарактеристиках. Комическое сопровождает выражение серьезного, остро драматического в судьбе героя поэмы и выступает в функциях преодоления душевной боли, возвращения к жизни в ее радостно-творческом модусе. Introduction. The study of the lyrical plot of the work “For the Jubilee” [Yubileynoye] carried out for the first time helps to understand the work as a poem, finds in its basis the dynamics of overcoming of the hardest sincere condition of the hero in the course of an imaginary night dialogue with Pushkin in front of his monument on Tverskoy boulevard. The purposes of the study are defined by the necessity of finding the internal co-ordinates of self-identification of the hero – the main lines of the lyrical plot, motives defining them, changes of impulses-themes in the monologue, as well as the components and devices of the comical. The methodology of the study is defined by a complex of historical-genetic, historical-functional, and comparativehistorical methods, descriptive poetics, and poetics of non-classical art. Results and discussion. The basic results of the work are connected to the overcoming the tradition of Russian study of Mayakovsky’s works to place “For the Jubilee” among numerous poems-“conversations” of the poet, to distinguish it only in the connection with the certain event – the 125th anniversary of Pushkin’s birthday. New prospects of the research are opened taking into account that “For the Jubilee” was created in the direct time affinity to poems “About That” [Pro eto] and “Vladimir Ilyich Lenin”, with the important topic of metaphorical or real death, the problem of immortality and the lyrical hero overcoming boundaries of real space and time in his mental searches. As other bases of research, the transformations of components of the ancient plot of vision, the connotation of Pushkin’s works and signs of his destiny are examined, which are perceived by Mayakovsky-hero as remarks of the great poetpredecessor in the mental dialogue with him. Conclusion. The analysis of poetics of “For the Jubilee” shows the specific author’s use of a set of speech devices of the comical in self-characteristics. The comical accompanies the expression of the serious, the sharply dramatic in the destiny of the poem’s hero and acts as a function to overcome mental anguish, to return to life in its joyful creative modus.

Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.

Якутский героический эпос развивается на общем сюжетообразующем фоне, у него в основном единый канон сюжета, образов, мотивов, языковых формул, типических мест. Однако эпос меняется во времени, он может иметь совокупность отличий, что связано с особенностями материальной и духовной потребностей каждого поколения. Сегодня в Якутии сказительством занимаются представители нового поколения олонхосутов, которые в отличие от олонхосутов раннего периода, владея грамотой, имеют возможность учиться сказительскому искусству по публикациям, аудио-, видеозаписям, они производят самозаписи текстов своих олонхо, издают их. Сравнительное изучение «текстовой материи» классических и современных эпических произведений, выявление признаков статичности и трансформации во времени подводит к выводу, что решение этих вопросов еще не нашло надлежащего места в сегодняшней эпосоведческой науке. В целях восполнения в некоторой мере этого пробела в данной статье освещаются результаты сравнительного анализа сюжетных мотивов в текстах олонхо якутских сказителей, принадлежащих к различным поколениям. Изучены традиционно устойчивые архаичные мотивы эпического времени, сотворения мира, родины богатыря, заселения Среднего мира племенами ураангхай саха; мотивы появления богатыря-защитника, похищения чудовищем девушки племени айыы, сражения между богатырями айыы и абаасы, победы богатыря айыы после всевозможных приключений, освобождения плененной женщины; мотивы женитьбы богатыря айыы и установления мира на Среднем мире. Автор приходит к выводу, что эпическая традиция меняется во времени, испытывает разнообразные его влияния и вбирает нечто новое, в итоге текст олонхо претерпевает трансформации. В текстах современных олонхо наблюдаются упрощение или упущение некоторых мотивов и тенденция к сокращению объемов текстов. Однако такие изменения не влияют на традиционную сюжетно-композиционную структуру олонхо.Результаты исследования могут быть использованы в научном изучении одной из малоразработанных тем якутской фольклористики – трансформация во времени устойчивых мотивов традиционного олонхо. The Yakut heroic epic develops on the general plot-forming background, it basically has a single canon of the plot, images, motifs, language formulas, typical places. However, the epic changes in time, it may have a set of differences, which is associated with the peculiarities of the material and spiritual needs of each generation. Today in Yakutia, representatives of the new generation of olonkhosuts are engaged in storytelling, who, unlike olonkhosuts of the early period, are educated, have the opportunity to learn the art of storytelling on publications, audio, video recordings, they produce self-recordings of their olonkho texts and publish them. A comparative study of the “textual matter” of classical and modern epic works, the identification of signs of static and transformation in time, leads to the conclusion that the solution of these questions has not yet found a proper place in today's epic studies. In order to closing the gap, this article highlights the results of a comparative analysis of plot motifs in the texts of the Yakut olonkho narrators belonging to different generations. The traditionally stable archaic motifs of the epic time, the creation of the world, the homeland of the hero, the settlement of the Middle World by the Uraangay Sakha tribes were studied; the motifs of the appearance of the warrior-defender, the abduction by the monster of the girl of the aiyy tribe, the battles between the warriors of aiyy and abaasy, the victories of the warrior of aiyy after divers adventures, the release of the captive woman; motifs for the marriage of the warrior aiyy and the establishment of peace in the Middle World. The author comes to the conclusion that the epic tradition changes over time, experiences its various influences and absorbs something new, as a result, the text of the olonkho undergoes transformations. In the texts of modern olonkho, simplification or omission of some motives and a tendency to reduce the volume of texts are observed. However, such changes do not affect the traditional plot and compositional structure of the olonkho.The results obtained in the study can be used in the scientific study of one of the underdeveloped themes of Yakut folkloristics – the transformation in time of the stable motifs of the traditional olonkho.

Statement of the problem. Today national musicology is beginning to actively show interest in the study of Western European medieval monody. However, there is still no scientific information about the unique personality of the Middle Ages – Hildegard of Bingen and her musical creativity – in particular about the liturgical drama «Ordo virtutum», although there are some musicology methods for analyzing this music. The relevance of this study is due to the filling of this gap. Taking in account that a musical work of the 11–12th centuries is usually considered only within the context of the “historical style”, it seems interesting to have the opposite approach – to identify the characteristic features of authorship in the work of a medieval composer, whose music is becoming more and more popular in the world concert repertoire. The purpose of the article is to consider the work of Hildegard of Bingen in the aspect of the phenomenon of the author’s style and to identify the invariant features of the individual style model. The liturgical drama “Ordo Virtutum” (“Series of Virtues”) of 1150 by Hildegard of Bingen was chosen as the material for the study, in which several types of art – music, literature and theater are combined, and which is the earliest survived sample of this genre. The “libretto” of the drama is written by Hildegard own and fixed in the so-called “Rizenkodeks” – the majestic manuscript book of 25 pounds, which stored in Wiesbaden Landesbibliothek. The author of this study used the following research methods: historical and contextual due to the need to identify the specifics of creative thinking of Hildegard of Bingen in the context of the theory and practice of the liturgical monody of her time; intonation-dramaturgical analysis aimed at a holistic comprehension of the musical content as such, which is guided by the search for unifying patterns of the intonation plan, and the text-musical semantic analysis of the holy chants fot covering the synergistic aspect of understanding style. Results of the study. Theological themes were the main issues of Hildegard’s life, because from the age of eight she lived and studied in a Benedictine monastery, and later founded her own monastery in Rupertsberg. So, the work of Hildegard of Bingen, along with the music of such well-known, but much younger than her, contemporaries, masters of polyphony, like Leonin and Perotin, provides a unique opportunity to trace the peculiarities of the manifestation of authorship in the monody of the 12th century. The Gregorian chant became a genre that fully embodies the aspirations of the church. However, from the 11th century onwards, secular elements were gradually introduced into church music: from Easter or Christmas tropes, which contained intonations of folk songs, to theatrical episodes based on Scriptures, or “actions” called liturgical drama. The musical drama “Ordo Virtutum” (“A Series of Virtues”) was created to consecrate the Hildegard Convent in Rupertsberg and is impressive primarily because it is the first fully preserved, not fragmentary, liturgical drama. Unlike traditional liturgical drama, the work also surprises with its unusualness and multidimensionality. The text of the drama is related to the themes, characters and prophetic visions presented in one of the main theological works of Hildegard – “Scivias”. As for music, it is a monody, which, thanks to its innovations, significantly expands the tonal and intonational boundaries of music of that time. “Ordo Virtutum” is a Christian philosophical parable dedicated to the struggle for the human soul between the sixteen Virtues (Faith, Hope, Love, Humility, Docility, Innocence, Modesty, Divine Love, Divine Knowledge, Prudence, Patience, Chastity etc.) and the devil. This is the story of a “prodigal daughter” tempted by the devil, who gradually repented and returned with joy to the bosom of the Church. The manuscript of the drama is not divided into actions, but modern editions divide the work into six parts: the prologue, four scenes and the finale. There are a total of 82 different melodies, 80 of which are performed by women. The presence of a large number of female roles (as evidenced by the mostly high register of singing) indicates that the drama “Ordo Virtutum” was composed and performed for the first time in a nunnery. A peculiar struggle takes place between the features of the traditional Gregorian genre, secular influences and signs of Hildegard’s own style of singing, which leads to their synthesis in her compositional work and the opening of new musical horizons. The content of her songs is based on spiritual and cultural context, on the one hand, and personal and psychological attitudes, on the other. Hildegard’s monody is individual in relation to the models of Gregorian chants described in the scientific literature and is unorthodox. Following the text, the melody is divided into lines, which are combined into structural constructions of a higher level – stanzas. The structural and semantic unity of the whole is achieved due to the commonality of melodic motives, and the structure of lines and stanzas is determined by the motive formula. The presence of the above-mentioned integrating principle together with the multiplicity of its incarnations within the unique author’s individuality makes it possible to assert that Hildegard of Bingen’s music is a systemic phenomenon and demonstrates its own compositional style, like the music of Leonin or Perotin. On the example of the analysis of the musical characteristics of different heroes of the work, we see that the liturgical drama “Ordo Virtutum” is not just a collection of typified chorales, as it may seem at first glance. We have before us a real composer opus, endowed with its own unique authorial style, which is “lighting” through each element of this harmonious systemic compositional and semantic integrity. Conclusions. The liturgical drama of Hildegard of Bingen, in fact, was the first, which means that it is advisable to talk about the “phenomenon of a musical work” (the term of N. Gerasimova-Persidskaya), which is inevitably associated with authorship. It was also revealed that the characteristic features that add originality to the musical writing of St. Hildegard are the construction of special short intonational-motive formulas, as well as the frequent use of melismas and musical figures of ascending leaps, extended to an octave. The interaction of these and other qualities forms the uniquely individual author’s style of Hildegard of Bingen, the phenomenon of which lies in his exceptional integrity.

Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity

ABSTRAK Pengelolaan pembangunan desa islami adalah konsep pembangunan desa yang memiliki karakteristik tercapainya tujuan pembangunan sosial ekonomi yang berdimensi holistik, seimbang antara aspek material dan spiritual. Penelitian ini bertujuan untuk mengkaji pembahasan kajian-kajian terdahulu secara sistematis tentang konsep dan praktik pengelolaan pembangunan desa dalam perspektif islam. Dalam rangka melakukan review publikasi artikel secara sistematis, riset ini menggunakan standar protokol RAMESES. Hasil penelitian ini terbagi menjadi dua tema utama, yaitu peran dan fungsi lembaga keuangan mikro syariah dalam pembangunan desa dan Lembaga Swadaya Masyarakat dalam pengelolaan pembangunan desa. Tema pertama menghasilkan tiga subtema: praksis keuangan mikro syariah di Bangladesh, Malaysia, dan Indonesia. Tema kedua menghasilkan satu subtema yaitu peranan Pesantren dalam mendukung pengelolaan pembangunan desa. Hasilnya memberikan landasan untuk mengisi ruang-ruang yang belum dimasuki untuk membangun pengelolaan pembangunan desa yang komprehensif berdasarkan prinsip atau nilai Islam yang ideal. Kata kunci: Islami, Pengelolaan Pembangunan Desa, Systematic Literature Review. ABSTRACT Islamic village development management is a village development concept that has the characteristics of achieving socio-economic development goals with a holistic dimension, balanced between material and spiritual aspects. This study aims to systematically review the discussion of previous studies on the concepts and practices of village development management from an Islamic perspective. To conduct the article review systematically, this research was carried out using the RAMESES protocol standard. The results of this study are divided into two main themes, namely the role and function of Islamic microfinance institutions in village development and non-governmental organizations in managing village development. 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