Journal articles on the topic 'Portrait painting Psychological aspects'
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1
Marcus, Esther-Lee, and A. Mark Clarfield. "Rembrandt's Late Self-Portraits: Psychological and Medical Aspects." International Journal of Aging and Human Development 55, no. 1 (July 2002): 25–49. http://dx.doi.org/10.2190/8lq5-cc7w-ujdf-tnm0.
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The Dutch painter Rembrandt (1606–1669) left behind the largest series of self-portraits in the history of art. These paintings were produced over a period of time from age 22 years until just a few months before Rembrandt's death at age 63. This series gives us a unique opportunity to explore the development, maturity, and aging of the artist. The changes in Rembrandt's face and expression from one self-portrait to the next may be attributable to any combination of the following factors: normal aging changes, modifications and developments of his artistic style, alterations in the way he viewed himself, and changes in the way Rembrandt wanted us to see him. In addition, the modifications may be attributed in part to some illnesses from which the artist may have suffered and/or to a decline in his eyesight that may have influenced both his ability to detect details and his ability to paint.
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Samoshchuk, Oksana. "PSYCHOLOGICAL ASPECTS OF SALVADOR DALÍ'S PERSONALITY AND CREATIVE PROCESS." PSYCHOLOGICAL JOURNAL 6, no. 1 (January 30, 2020): 175–86. http://dx.doi.org/10.31108/1.2020.6.1.17.
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The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.
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Wałczyk, Krzysztof. "Biblical Inspirations in Nikifor’s Paintings." Perspektywy Kultury 26, no. 3 (October 1, 2019): 31–46. http://dx.doi.org/10.35765/pk.2019.2603.05.
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Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A popular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper explanation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspiration. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our real-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.
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PETEK, Nina. "Aesthetics of the Classical Period of the Islamic Mughal Empire in India through a Portrait of Abū al-Fath Jalāl al-Dīn Muhammad Akbar." Asian Studies 6, no. 1 (January 30, 2018): 73–109. http://dx.doi.org/10.4312/as.2018.6.1.73-109.
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The reign of Abū al-Fath Jalāl al-Dīn Muhammad Akbar (1556–1605) was a fruitful period of the political, cultural and spiritual synthesis of Persian, Indian, and European tradition, as well as an artistic and aesthetic renaissance. This cosmopolitan, universal and charismatic ruler strived for the external, political, material and spiritual well-being of his colourful empire. In search of a balance between the external and internal, and in his endeavours for the unification and uniformity of India he gradually created a completely new style of Mughal arts, which is a stunning reflection of his personality’s transformations, principles, insights, interests, and spiritual growth.The paper focuses on a psychological portrait of the ruler, who dictated aesthetics and the style of the classical period of Mughal arts which consists of the three basic developmental phases of Akbar’s enigmatic character. The thesis on the parallel development of Akbar’s personality and Mughal arts is supported by research on the influence of certain European and Persian aesthetic elements, and mainly on the influence of Indian philosophical-religious tradition (the doctrines on rasa, bhakti, yoga, and tantra). The early period of Mughal arts, with predominantly realistic elements, coincides with the ruler’s dynamic, youthful enthusiasm and immense curiosity to acquaint himself the most varied aspects of external events and appearances. The second, the mature period, which enriches this earlier realism by means of mystical elements and the symbolism of Indian pre-Mughal painting, is marked by the shift into the interior and by searching for the harmony between the material and spiritual. In the late period of Mughal painting, however, reflexive and lyrical works prevail, which are a reflection of completion of Akbar’s spiritual quests, and the unique project of multifaceted synthesis that he undertook and promoted.
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Kapnina, Halyna I. "Psycholinguistic Characteristics of the Discourse with a «Colour Black» Component (based on E.M. Remarque’s works)." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 138–47. http://dx.doi.org/10.32342/2523-4463-2021-2-22-12.
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In recent decades, colour vocabulary has been actively studied by the Ukrainian and foreign scientists. Modern Linguistics has significant achievements in research of this issue, however, some of its aspects, in particular, psycholinguistic characteristics of the discourse with a colour element, still remain relevant and poorly researched. Colour has always played an important role in artistic discourse. The names of individual writers are inextricably associated with certain coloronyms, which is a so-called marker in their work. One example of this phenomenon is the colour black, that is dominant in the discourse of E.M. Remarque, which, given the mostly dramatic themes of the author’s novels, is quite expected, especially if the fact is considered through the prism of Psycholinguistics. The purpose of the given scientific investigation is to provide psycholinguistic characteristics of the discourse with the «black colour» component in E.M. Remarque’s works and to identify the impact it has on the reader in the process of perceiving the outstanding author’s texts. Implementation of the stated tasks of research involved the integrational usage of general scientific methods (such as description, induction, deduction), as well as the analysіs of dictionary definitions, current native and foreign psycholinguistic sources; contextual and structural-thematic analysis; modelling and classification of actual material. The results of the analysis of the Remarque’s discourse with the «black colour» component allow us drawing the following conclusion: the coloronym «schwarz» in E.M. Remarque’s is characterised by a wide semantic content, wherein the black colour is used by the writer both to determine the colour of the described object neutrally and to convey figurative negative semantics. Lexemes denoting black, in their direct meaning, indicate the colour of the depicted object directly. Using the colour nomination «schwarz» in symbolic meaning, the author resorts to «painting» in dark natural phenomena, which are not characterised by black; depicts dishonest and illegal actions; demonstrates negative attitude towards people. Using the specified colour nomination as the colour of clothing, objects, buildings, as well as emotions, experiences and feelings, non-verbal means of intensification the semantics of “black” – the designation of poses, gestures, facial expressions, body movements the author demonstrates not only his personal attitude towards the characters of his novels, but by focusing the consciousness of the reader on their difficult psychological and physical state, he encourages to rethink the causes and consequences of their actions. Stable association with the black colour, peculiar for a long historical and cultural development of mankind, and therefore with sad events in human life, losses, failures, loneliness, is verbalized in all analysed Remarque’s works. Thus, the black colour is the necessary element of the psycholinguistic portrait of Remarque’s character.
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Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.
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SUMMARY
The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.
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Sullivan, Margaret A. "Alter Apelles: Dürer’s 1500Self-Portrait." Renaissance Quarterly 68, no. 4 (2015): 1161–91. http://dx.doi.org/10.1086/685123.
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AbstractThe persistence of interpretations that view Dürer’s 1500Self-Portraitas a Christlike image in spite of the issue of blasphemy it raises is due in large part to the lack of a competing historical narrative, one that accounts for the unusual aspects of the painting without recourse to religious imagery. In this article, Dürer’s motivation in creating this unprecedented painting and the strategies he used in constructing it are analyzed from the perspective of his contemporaries. In this alternative view, the humanist context is crucial, with Dürer emulating the greatest artist of the ancient world by composing the 1500Self-Portraitin ways that accord with Apelles’s art, practice, and reputation as it was transmitted through the literature of the ancient world.
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Pottasch, Carol. "The transformation of Adriaen Thomasz. Key’s Portrait of William of Orange." Ge-conservacion 18, no. 1 (December 10, 2020): 190–99. http://dx.doi.org/10.37558/gec.v18i1.827.
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When the iconic portrait of William of Orange by Adriaen Thomasz Key was brought to the conservation studio of the Mauritshuis, examination of the radiograph showed that part of the painting was not original. Prior to the painting’s arrival in the Mauritshuis, the left plank of the original oak support had been lost or removed, and replaced by another plank. Also, the whole painted surface, except for the face, was broadly overpainted. During the recent treatment, the conservators made the decision to remove most of the overpaint, and retouch the painting in an illusionistic way. Different options were considered for re-integrating the addition. This paper discusses the ethical and historical aspects that played an important role in the decisions to restore this painting.
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Gamidov, Timur Saidovich. "NEW MEANS OF EXPRESSION IN PORTRAIT PAINTING OF ALEXEY AVGUSTOVICH (1960-s)." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 83–86. http://dx.doi.org/10.31029/vestiyali26/12.
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The article describes the portrait genre in the painting of the famous Dagestan artist A. Avgustovich. Examples of his creative searches and innovative incarnations, which expanded the artistic and stylistic structure of the Dagestan fine arts of the 1960s, are given. The emotional-psychological and figurative-specific characteristics of the disclosed characters, the richness and variety of the used means of artistic expression are investigated.
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Leonhard, Karin. "Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 428–57. http://dx.doi.org/10.1163/15733823-02046p06.
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It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chiaroscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.
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Farris, Wendy B. "Portia as Primavera: Cultural Memory in The Death of the Heart." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 179–94. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1636.
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Near the end of the second part of Elizabeth Bowen's novel The Death of the Heart, the cad Eddie calls the ingenue Portia "Primavera." I wish to argue that in this moment Bowen appropriates Botticelli's painting, Primavera, as a subtext for her novel and with it the grace and charm of Renaissance Italy. The virtual presence of Botticelli's Primavera, or, if not the painting, the Renaissance mythological portrait its name suggests, is perhaps one of the continuities that rule Bowen's text, seen or unseen by her. In any case, even if my arguments for Botticelli's influence are not definitive, it is useful to explore the affinities between Bowen's text and Botticelli's painting. Bowen's visual subtext locates her and her readers between Renaissance houses and modern streets. It endows her social satire and psychological portraiture with latent layers of cultural memory, the kind of memory that Bowen values as a stay against the emotional brittleness and material chaos of modern life.
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Kirdyaeva, Olga. "Oscar Wilde's "Picture of Dorian Gray": painting, portrait or something else?" Litera, no. 1 (January 2022): 114–22. http://dx.doi.org/10.25136/2409-8698.2022.1.37353.
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The subject of this research is the contextual row of synonyms picture-portrait-painting in Oscar Wilde's novel "The Picture of Dorian Gray". The article examines the interrelation of the selected lexemes with the content and plotline of the literary work. Analysis is conducted on the various aspects of implementation of the key meanings of the lexemes in the narrative, turning particular attention to the fact that namely the lexeme “picture” is reflected in the title of the novel. Since the title is the most significant form of expression of the author's plan and comprehension of the own literary work, there is a need for accurate interpretation of the author’s intention and substantiation of the choice of the lexeme “picture” as a plot-forming in comparison with “portrait” and “painting”. The scientific novelty of this research lies in the selection and examination of the triad of lexical units in their semantic, plotline and content interdependence in the novel by O. Wilde, in structuring synonymic chain in the priority sequence that is significant for the accurate interpretation of the author’s position, in determination of the additional triad of symbols, as well as in indication of the latent dynamic component of the headline lexeme of the novel. The acquired results demonstrate that the synonymic chain “picture-portrait-paining” features the technique of ascending gradation, with the dominant word “picture” that forms the title and meta-theme of the literary work. These contextual synonyms determine the emergence of the new triad: instrument, object, and image of creation. The studied lexical units, which a priori are in syntagmatic connectivity, transform into the paradigm of ideological meanings of the novel.
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Malkina, Victoria. "Landscape, Still Life, and Portrait as Titles of Poems." Slavic World in the Third Millennium 14, no. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.
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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.
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Pylnik, R. O. "Development of a reflection during work above a self-portrait." Educational Dimension 18, no. 2 (May 10, 2007): 40–48. http://dx.doi.org/10.31812/educdim.5956.
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In the article an author examines the concept of reflection in philosophical, psychological, pedagogical aspects. Implementation ofeducational-creative works in the genre of self-portrait is shown as mean of development of reflection of future teachers of fine art.
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Guillen-Nuñez, César. "The Portrait of Matteo Ricci." Journal of Jesuit Studies 1, no. 3 (April 1, 2014): 443–64. http://dx.doi.org/10.1163/22141332-00103005.
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This article discusses a rather unusual portrait that depicts the Italian missionary Matteo Ricci (1552–1610), to be found today in the Gesù church in Rome. When it was first exhibited it aroused such excitement among Jesuits that it was displayed next to the portraits of St. Ignatius of Loyola and St. Francis Xavier. At an uncertain date, a small inscription was attached to the frame with Ricci’s name, his years of birth and death, and a statement that the painting had been exhibited in the vestibule of the Gesù residence in 1617, but that its artist was unknown. Although the painter’s name was disclosed as that of the Chinese-Macanese Jesuit brother You Wenhui (alias Manuel Pereira) in an account by Sabatino de Ursis soon after Ricci’s death, both the painter and his work have remained practically ignored by most researchers. This article studies the portrait and its creator from an art-historical perspective in much greater detail than previously. Stylistic and iconographic influences of Chinese Ming portraiture observable in the style of the work are identified, as are features from late sixteenth-century Counter-Reformation portraits. Certain aspects of Ricci’s contributions to Chinese science are also discussed, along with a number of contemporary theological arguments that tell us much about the nature of the portrait, its subject, its creator, and its deep spiritual significance.
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Wijnands, Clim. "Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy." Ikonotheka, no. 29 (September 16, 2020): 79–101. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.2.
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A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in French royal court circles around 1550 and subsequently making its way to Rome as a diplomatic gift. The device combined a portrait of Henry II of France, a moon symbol, and a puzzle-ridden poem to convey interrelated political and poetic meanings. The second painting is Ludovico Buti’s Portrait of Charles III of Lorraine and Christina de’ Medici. It was commissioned by the Medici, and originally hung in a room filled with maps and geographical devices. This article considers three aspects central to the paintings’ reception: motion, sensory perception, and ideology. Operating in an intellectual culture fuelled by curiosity and designed to evoke wonder, these devices aimed to prolong the beholders’ attention by establishing thresholds within the artistic experience. As such, they straddled the vague boundaries between painting, scientific instrument, and poem to stimulate the beholders’ senses and involve them in an interactive game of meaning-making.
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Smyslova, Olga N. "On “Real Truth” and “Higher Truth” in the Art Criticism of F. M. Dostoevsky." Two centuries of the Russian classics 3, no. 4 (2021): 114–29. http://dx.doi.org/10.22455/2686-7494-2021-3-4-114-129.
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The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.
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Stephen, Ann. "Portrait of an artist as an ex-war surgeon." History of Education Review 45, no. 2 (October 3, 2016): 183–97. http://dx.doi.org/10.1108/her-10-2015-0025.
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Purpose To examine how art is shaped by war, outside of the official commemorative projects of the First World War. The purpose of this paper is to examine the experience of a surgeon/artist who knew first-hand the horror of industrial scale of destruction. It speculates on how his medical education and surgical knowledge in the treatment of the casualties informed his art and considers how such scientific discourses may have contributed to a new modernist language. Design/methodology/approach The double career of J.W. Power – a surgeon then an artist – provides a case study to probe such questions. The paper speculates about the connections between these different careers, and considers the implications of becoming an artist for someone who had pre-war university-training, medical expertise and experience as a war surgeon. In particular, consideration is given to how surgical knowledge and contemporary medical debates may have informed a group of later paintings. Findings A group of J.W. Power’s late paintings stand apart from his other subjects as they suggest states of physical or psychological damage. Indeed by the 1930s shell shock was recognised as a war-related psychological injury. These paintings then may not only be an act of remembrance, but also potentially a reflection on that new discourse. Research limitations/implications It remains a compelling idea that by the 1930s Power had found a modern abstract language capable of revisiting the traumatic subject of his hospital sketches. The implications of the war-time surgery on his art was delayed and remains highly ambiguous, however it invites, indeed encourages, such speculation. Originality/value The paper is the first to examine the cultural impact of the medical career of the artist J.W. Power. His medical training and experience as a war-time surgeon is shown to have been significant to his later painting, for he knew the regenerative powers of modern surgery, of how such knowledge had the power to repair and to heal.
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Powell, Amy Knight. "Life and death according to the ‘episteme’ of the fort." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 72, no. 1 (November 14, 2022): 272–305. http://dx.doi.org/10.1163/22145966-07201010.
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Abstract In Amy Powell’s essay social death’ offers a prism through which to analyse the said painting and specifically what it conceals – namely, the bodies of Black Africans sold into the transatlantic slave trade from storerooms located immediately beneath the sumptuous chamber depicted here. Wilre, portrayed as director of the WIC at the Dutch fort of Elmina on the ‘gold coast’ of West Africa, profited hugely from this trade even as he obfuscated the source of his wealth in images like this portrait. Powell’s analysis asks us to consider how those basement storerooms, and victims of the slave trade they contained, are ever present in De Wit’s painting, even as they are not figuratively represented. Her reading of two pictures within this picture draws attention to those who have suffered social death. The embedded pictures appear to reflect back to aspects of Wilre’s experience at Elmina as well as the impossibility of fully seeing the bodies marked, dismembered, and ultimately annihilated through the slave trade.
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Letin, Vyacheslav A., and Karina S. Visenya. "THEATER DISCOURSE IN A. P. LOSENKO’S PAINTING." World of Russian-speaking Countries 6, no. 4 (2020): 95–114. http://dx.doi.org/10.20323/2658-7866-2020-4-6-95-114.
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The article is devoted to the analysis of the representation of theatricality in painting by A. P. Losenko. On the example of his works, most closely related to stage art, the theatrical component of his creative method is revealed. The article analyzes two works by A. P. Losenko, directly related to the circle of the first Russian theaters: “Portrait of actor F. G. Volkov” and “Vladimir before Rogneda”, which are considered in the context of the theatrical discourse of European theater culture of the second half of the XVIII century as peculiar declarations of the artist about the personality of the artist and the mission of theater art in society. Almost all the historical paintings by A. P. Losenko are written in a tragic way with the characteristic color of the conflict, the characterization of the characters and the construction of mise-en-scenes. In particular, in “Vladimir...” the tragic conflict lies in the need for revenge on the hero to the insulter and a sense of love for her, which arose under the impression of her beauty. However, this situation is emphasized already in the spirit of the Enlightenment era with its cult of sensitivity. The conflict loses heroic-political acumen, and is transferred to the lyric-psychological register. The article concludes that the “theatricality” of Losenko's paintings is an important component of his creative method, that its principles are rooted in the historical and cultural context of the Enlightenment. In A. P. Losenko’s “theatrical” paintings, actual searches for both European and national art culture in the field of stage arts were reflected. And, in turn, his work influenced both the development of historical painting and the theatrical art of Russia of the late XVIII - early XIX centuries.
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Kulyk, O. "VERBALIZATION OF THE PSYCHOLOGICAL PORTRAIT WOMEN OF RESPECTABLE AGE IN ARTISTIC TEXT (based on the material of the novel "Elizabeth is Missing" by Emma Healy translated by Anna Tsvira)." MESSENGER of Kyiv National Linguistic University. Series Philology 25, no. 1 (August 26, 2022): 79–88. http://dx.doi.org/10.32589/2311-0821.1.2022.263117.
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This article attempts to analyze and classify the linguistic means employed to create a psychological portrait of an elderly woman in Emma Healy’s novel Elizabeth is Missing and its translation performed by Anna Tsvira. For this purpose, we have used the following methods: general scientific methods of analysis, logical deduction, synthesis and generalization; method of sampling to select materials for examination; methods of definition-based and context-based analysis as well as an interpretation method which enabled us to make conclusions regarding mechanisms of selecting accurate and expressive linguistic means to create a psychological portrait of an elderly woman in a literary text.It was found that language ways which that enabled the author Emma Healey to create a psychological portrait of an elderly woman, and helped the translator Anna Tsvira to recreate it successfully are as follows: bunching, monotonous repetition of pronouns; phraseologisms; the use of verbs that depict psychological and behavioral reactions; swearing; lexical units of negative attitude and judgment (nouns, verbs, adjectives, adverbs and adverbial phrases); individual (author-coined), image metaphors and comparisons; stylistic devices (antithesis, repetition); bunching of interrogative questions, multiple use of negative particle “not”, punctuation marks. The said linguistic means enable the reader to interpret the psychoemotional condition of an elderly woman: projecting (attribution) of one’s own state onto other people; inadequate physiological manifestation of emotions; inner conflict, inner fears (caused by biological aspects of aging); awareness of psychological changes due to new signs of a progressing illness. With the help of the abovementioned linguistic means, the author / translator managed to preserve the atmosphere of instinctive, illogical, and partially even absurd feeling of extreme fear and terror experienced by the main character, and represent Maud’s illness as an invincible obstacle that renders the woman unable to live a normal life within the society, to create a psychological portrait of this character and arouse an intended emotion in the reader – the empathy they feel when they begin to experience the main character’s emotions as if these were their own.
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Ohryzko, Volodymyr. "Why Russia Will Never Make It." Diplomatic Ukraine, no. XXI (2020): 717–43. http://dx.doi.org/10.37837/2707-7683-2020-36.
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The article deals with the complex and multifaceted issue of self-esteem of the Muscovite population. The centuries-old seclusion from Western European processes has forged the psychological type of a ‘lonely people’ constantly looking for its shore but never quite finding it. Such separateness and otherness have led to the cultivation in the public consciousness of a stereotypical higher calling, special mission, mysteriousness, etc. The permanent ‘closed solitude’ has given rise to another psychological phenomenon – suspiciousness and aversion to everything foreign. For the sake of painting an in-depth psychological portrait of Muscovites, the author cites, for instance, controversial thoughts of Nikolai Berdyaev, who analyses the three most important elements of the Russian mindset – its perception of statehood, ethnicity, and religion. Over time, the psychological knots and traumas tied up during the formative stage of the Muscovite nation have eventually transformed into paranoid ideas of its exceptionalism and permissiveness. The author steadily justifies that the psychological type of the Russian people is hazardous for everyone around, particularly for Russia itself. It has not established itself as a democratic, liberal, free, and social state, as it cannot – and will not – do it. Therefore, its internal repressions and international aggression are an evolutionary dead end and a catalyst for collapse. Keywords: Muscovy, psychological type, Berdyaev, Putin, chauvinism, propaganda, rapaciousness.
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Shmyrko, Vira, Oleksandr Korobko, Yuliia Troian, and Yurii Yakimtsov. "Pedagogical Aspects of Improving the Psychophysiological Safety of Future Professionals." Bulletin of Luhansk Taras Shevchenko National University 2, no. 6 (344) (2021): 141–49. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-2-141-149.
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The article is devoted to improving the quality of training on occupational safety and health in the context of national quarantine and distance learning. The need to integrate numerous, diverse studies related to the peculiarities of becoming a specialist, combining psychological and psychophysiological aspects of this problem and developing a holistic system of psychological support for all stages of becoming a specialist. It is shown that in ergatic systems specialists together with professional knowledge and skills must have special abilities, competencies, flexibility, dynamism, creativity in professional activities, independence in finding and assimilating new information and new professional experience, make adequate decisions in "non-standard" situations. in conditions of lack of time and have the skills of optimal interaction with other participants in the production process in joint professional activities in the team. It is noted that to obtain a sustainable learning outcome is possible only taking into account the psychophysiological characteristics of the student, his character defects and stereotypes of behavior in normal and extreme conditions. The method of psychological testing and analysis of the obtained results is offered. After passing all the proposed tests, the teacher receives a psychological portrait of each individual student and has the opportunity to adjust the curriculum and methodological approaches to ensure maximum mastery of theoretical material and practical skills of future professionals.
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Xu, Yong, Qian Wang, Rachel Edita O. Roxas, Yutao Sun, Xiaoyu Li, and Xizhi Lv. "ONLINE SHOPPING USER PORTRAIT MODEL CONSIDERING PSYCHOLOGICAL AND EMOTIONAL FACTORS." International Journal of Neuropsychopharmacology 25, Supplement_1 (July 1, 2022): A21. http://dx.doi.org/10.1093/ijnp/pyac032.028.
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Abstract Background With the emergence of Web 3.0 era, more and more enterprises begin to pay attention to the research of “personalization”. Personalized recommendation is not only through the simple classification of users' basic attributes, but also through the collection of various content data generated by users on the network, in-depth analysis of text, statistics of user behavior and other methods to find hidden user interests, so as to provide personalized services more accurately. As a data analysis tool, user portrait model can better obtain the effective information of users and describe the characteristics of user groups. It is widely used in personalized recommendation, precision marketing, behavior prediction, anomaly detection and other fields to improve service efficiency and user satisfaction. Research Objects and Methods Analyze and quantify the emotion of the comment text in detail. After extracting the main aspects of users' attention to the product, the real emotion expressed by users who buy the product is calculated, and a user portrait model with multi-attribute features is proposed. This paper constructs a multi-dimensional user portrait index system from four aspects: user basic attributes, interaction attributes, feedback attributes, psychological and emotional attributes and situational attributes. Secondly, based on entropy theory, the overall interaction value a is calculated according to the interaction index value; Then, the user evaluation SC and user comment emotion se are taken as the indicators of user feedback attributes. Then, TF-IDF method is used to distinguish the important features of users' psychological interest, and the feature weight of interaction index is obtained to show the differences between users. Finally, a portrait model considering emotional factors is established. In order to verify the impact of user portrait model on customer emotion, this study uses relevant women (half and half) to participate in this study. The experimental design, screening method, dependent variable index and experimental method are the same as above. Examples of receiving instructions are as follows: the red circle will prompt, and then there will be negative emotional stimulation. Even if it makes me feel unhappy, it is normal. I should fully accept the unpleasant feeling and let my feeling flow naturally without controlling it. The guidelines for avoidance are as follows: the red circle will prompt, and then there will be negative emotional stimulation. Although I don't know what the specific content is, I should try my best to avoid this stimulation and avoid this negative emotional feeling. A series of experiments were conducted to explore how different cognitive styles of healthy individuals affect the emotional effects caused by expectation and the regulation of expectation on the emotional arousal of subsequent stimuli. Study 4.3 intends to further investigate whether and how adaptive cognitive style training can change the excessive negative expectations of anxiety patients (taking high trait anxiety as an example), so as to intervene in clinical anxiety symptoms. This study intends to screen and recruit 180 subjects with high trait anxiety from college students (90 men and 90 women). According to previous studies, it is planned to measure the State Trait Anxiety Questionnaire (measuring the level of state anxiety and trait anxiety) and the positive emotion Negative Emotion Scale (measuring mood state) among college students. Subjects with more than 85% of the normal distribution of trait anxiety scores were regarded as subjects with high trait anxiety. The above subjects were randomly divided into four groups: separate reappraisal training group, active reappraisal training group, training group and their respective control group (30 in each group, half male and half female). Before starting the cognitive style training program, the negative expectations and emotional effects of the subjects in the experimental group and the control group (taking behavior, skin electricity and EEG as indicators) were pretested. The negative expected intensity was measured by uncertain cue. Results The subjects in the experimental group then received cognitive style training, and the subjects in the control group received control training for 3 months. After the training, the four groups of subjects were measured again for state trait anxiety, negative expected intensity and positive effect scale. Through the comparison between the experimental group and the control group, finally comprehensively evaluate the intervention effect of cognitive style training on excessive negative expectation and trait anxiety symptoms. Conclusions The model can describe the interests and preferences of different user groups more carefully and accurately, and provide effective support for personalized services. In short, we should integrate relevant designs according to our own advantages and characteristics. With the goal of excellent brand design examples, regularly hold successful model sharing, experience introduction, project display and other activities, establish successful brand examples for building customers' positive emotions, clarify the specific objectives of the activities, give full play to the concentration of professionals, high IQ and professional knowledge in the commercial field, give full play to the advantages of talents and intelligence, and organize experts and scholars to form a professional bid winning guidance team, Give full play to the role of professional experts and scholars in commercial projects in this field and carry out scientific research on relevant projects. Acknowledgments This work was supported by Philosophy and Social Science Planning project of Anhui Province under Grant No. AHSKF2021D31.
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Zverev, Аleksey V., Marina Yu Mishina, and Andrey V. Novikov. "PSYCHOLOGICAL ASPECTS OF ORGANIZATION OF FRAUD SCHEMES IN THE FIELD OF THE FINANCIAL MARKET." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 1, no. 12 (2021): 69–77. http://dx.doi.org/10.36871/ek.up.p.r.2021.12.01.009.
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This article reflects the peculiarities of the psychological connection between a financial fraudster and his potential victim. The process of forming a stressful situation depending on the type of financial fraud is described, the reasons for its occurrence and the result of implementation associated with a decrease in critical thinking are indicated. The essence is also revealed, including from the perspective of the relationship between the fraudster and the potential victim, and the types of financial fraud and practical examples of their manifestation are considered. The psychological portrait of a financial fraudster and his transformation in connection with the changing preferences of consumers of financial services are described. The role of the Bank of Russia in reducing the activity of financial fraud and ensuring the stability of the financial market is reflected.
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Melenko, O. V., L. M. Hryndei, and O. V. Stratii. "PSYCHOLOGICAL AND LEGAL ASPECTS AGAINST CORRUPTION IN UKRAINE NOWADAYS." Actual problems of native jurisprudence 5, no. 5 (October 2021): 93–99. http://dx.doi.org/10.15421/392205.
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This article provides a complex analysis of corruption crimes in Ukraine. The analysis is showing that a third of corruption crimes are committed in five regions of Ukraine, and a conclusion was made about the uneven corruption environment. It was found that in the structure of corruption crimes the largest part is occupied by administrative corruption crimes. In general, the structure of administrative corruption crimes in Ukraine is homogeneous. Almost all administrative corruption crimes concern violations of financial control requirements. In other words, the vast majority of Ukrainian corrupt criminals hide or distort information about their income and foreign financial investments. In the structure of criminal corruption crimes, the largest share is occupied by offenses related to obtaining illegal benefits and abuse of official position. On the other side, in the structure of disciplinary liability for corruption crimes, the largest share is occupied by offenses related to non-compliance with the requirements of financial control, a conflict of interests, and the receipt of illegal benefits. Based on a comprehensive analysis of corruption crimes in Ukraine, a behavioral stereotype of a Ukrainian corruptor has been developed. The logical sequence of actions of the Ukrainian corruptor has six stages: one's main interest is their own benefit, which excludes the interests of the nation and society; abuses one's official position; receives illegal benefits; rapidly accumulates material goods; stores money abroad; hides and distorts information about personal income. This article systematizes the psychological characteristics of a corruptor. The psychological portrait of a corruptor is formed by specific moral and psychological traits and socio-role characteristics, such as feelings of permissiveness and influence, envy, vanity, money cult, sociability, a propensity to risk, lack of empathy, careerism, ostentatious control. Ostentatious control means a demonstration of «poker face», which hides irresponsibility, unreliability, impulsiveness, emotional instability, aggression. The article proposes a number of institutional changes aimed at reducing the corruption environment in Ukraine.
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Michel, David. "Time Spent in St. Catharines." ti< 8, no. 1 (April 6, 2019): 14–17. http://dx.doi.org/10.26522/ti.v8i1.2167.
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Three small oil paintings on paper, approximately 20 by 13” in size, were created while experimenting with new media and techniques. All three pieces are representations of human figures, which is a study that I often turn to. The intent was to create works which portray different human characteristics.
One painting is a portrait of a person I look up to the most, which is my grandfather. My intention was to capture him being consumed by his genius mind. In order to do so, I created the impression of a blurred image.
The next piece contains different aspects I've encountered consistently throughout my time spent in St. Catharines. When creating the piece, I used these few aspects, which are street art, snow and isolation, combined with a homeless man I encountered.
My last piece is converting deeper into abstraction, while experimenting with different ways of representing reality.
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Wang, Aiqing. "Five Great Families and Telepathy: Folk Religion and Buddhism in Neo-Dongbei Fiction by Zheng Zhi." Al-Adyan: Jurnal Studi Lintas Agama 16, no. 2 (February 14, 2022): 93–122. http://dx.doi.org/10.24042/ajsla.v16i2.9626.
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The 2010s has witnessed the visibility of literature based on China’s Northeast (Dongbei), exemplified by literary works composed by Zheng Zhi, Ban Yu and Shuang Xuetao, viz. the ‘three masters of Dongbei Renaissance’. In a 2020 novella anthology, Zheng Zhi expatiates upon a veritable cornucopia of representations of folk religion (aka popular religion) and established religions via depictions concerning shamanism, Buddhism and Christianity. In a narrative entitled Xian Zheng ‘Divine Illness’, Zheng Zhi manifests animal worship as a form of folk religion, by means of painting a vivid portrait of shamanic practices pertaining to ‘five major deity families’ that denotes fox, weasel, hedgehog, snake and rat spirits. In a narrative entitled Taxintong ‘Telepathy’, Zheng Zhi depicts Buddhist practices, the preponderant motivations for which are analogous to those for folk religion in contemporary Dongbei, namely, physical wellbeing and psychological solace.
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Tarasenko, O. "Image of the Family and People in the Artwork of Roman Petruck." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 227–34. http://dx.doi.org/10.33838/naoma.27.2018.227-234.
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Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relationship between content and form, features of composition, symbols and stylistics of portrait images of the Ukrainian artist in the context of world art is revealed. Methods of iconography and iconography are used. The main thing in the school of Storozhenko: the means of art combine in man the lost integrity of the body, soul and spirit. In the compositions of Petruk, secular and cult art was consonant. Following the teacher, Roman communicates the time: man and family, family and people, people and humanity. In Storozhenko’s portraits Petruk asserts the highest hierarchy of the artist-creator. The connection with portraits of avant-garde masters is shown. The relationship between the portrait and the icon in the portraits of Petruk is studied. The icon confirms the dominant spirit of peace, and emotionality is important in a psychological portrait. The work of the artist combines the legacy of the art of Ancient Rus and Byzantium, the European and Ukrainian Baroque, romanticism, and academicism with modern trends. Neosynthesticism – in such a way named his method Petruk. The gallery of portrait images created by Roman Petruk (more than 100 works of painting and graphics) is a testimony to the spiritual battle of the artist for the dominant of spirit over matter. The general scientific significance of the article is the introduction of a modern Ukrainian portrait into the context of world art.
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Laryusheva, T. Mikhaylovna, A. N. Baranov, and T. B. Lebedeva. "EPIDEMIOLOGY OF ADOLESCENT PREGNANCY." Ekologiya cheloveka (Human Ecology) 21, no. 12 (December 15, 2014): 26–34. http://dx.doi.org/10.17816/humeco17177.
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The review has summarized the present knowledge reflecting urgency, incidence and causes of pregnancies among adolescents, their reproductive preferences and attitudes to contraceptive methods. A social portrait of adolescent pregnant girls has been shown. Statistical data have been given on choices of minors in pregnancy; adolescents’ attitude to abortions, social and psychological aspects contributing to abortions, as well as features of clinical course of pregnancy, delivery and perinatal outcomes in this age category.
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Yang, Deling, Xiao Zhang, and Jun Zhang. "EXPLORATION OF LANDSCAPE PAINTING IN THE TREATMENT OF ANXIETY DISORDER IN ART EDUCATION." International Journal of Neuropsychopharmacology 25, Supplement_1 (July 1, 2022): A84—A85. http://dx.doi.org/10.1093/ijnp/pyac032.114.
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Abstract Background Under the epidemic situation, people in trouble are constrained by various conditions, and their spiritual needs are gradually increasing. Art plays an increasingly important role in nurturing the resilience and creativity of life through spiritual transcendence. This paper discusses the viewer's appreciation of landscape painting from the perspective of art education, and uses different schools or representative personal landscape paintings to explore the different psychological reactions produced by the visual communication between the viewer and the works. Subjects and Methods Art therapy is a comprehensive discipline, spanning two disciplines: Art and psychology. It involves spiritual science, anthropology and sociology, so as to nourish human emotion, wisdom and imagination, and bring other psychotherapy effects. As the spiritual messenger of mankind, art cultivates our cultural ideal, exercises our toughness and stores energy for us to deal with difficult situations. Art appreciation can improve people's psychological quality and make people have the ability to stabilize their emotions and have a strong will. In this way, art appreciation can play a good role in psychological healing. At the same time, in the process of painting, we studied the regulating effect of this painting style on the mood of college students. We selected 60 students, including 30 males and 30 females. We used the anxiety scale designed by Kim as the measurement scale, and used Likert scoring method to evaluate the scale. Pearson correlation, standard deviation and statistical significance are combined to illustrate the correlation. T-test of independent samples was used to verify the difference between high anxiety group and low anxiety group. According to the statistical value of anxiety, participants were divided into three groups: low, medium and high anxiety groups. The questionnaire includes two kinds of anxiety, namely debilitating anxiety and promoting anxiety. Through t-test, univariate and multivariate analysis of variance and regression analysis, we investigated the relationship between anxiety and self-efficacy of students of different majors and genders. Results The author believes that promoting the study of landscape painting in art education is conducive to regulating people's body and mind. On the one hand, human beings have a natural intimate relationship with nature. On the other hand, the viewer can feel the difference between landscape painting, landscape painting and landscape documentary, because the painter integrates subjective and objective treatment in the picture and conveys different emotions to the viewer. This paper discusses from the following aspects: convey a quiet and peaceful atmosphere, recall the fleeting time, yearn for the mysterious and ethereal scene, stimulate a sense of excitement and pleasure, reflect on life, and trigger a noble and magnificent psychological response. Conclusion On the basis of exploration, through the analysis of landscape painting, the author finds that landscape painting plays an important role in the psychological rehabilitation of the viewer. Landscape painting combines the function of painting psychology and art, which has a certain impact on mankind, regulates the psychological state of the viewer and eliminates obstacles. The application of painting psychology in art education can help viewers appreciate landscape painting from more angles, explore the expression methods and methods used, as well as the emotion and connotation contained therein. It is relatively easy to enter the viewer's inner world with landscape painting as the theme, which can give people great spiritual comfort. In short, teachers should be fully aware of the important position of students' emotional elements in painting, actively improve the role of teachers in teaching activities, pay special attention to their classroom language and behavior, and change from a single knowledge imparter to a classroom manager, coordinator and collaborator. In the teaching process, we should actively organize teaching activities flexibly according to the psychological characteristics of students, strive to build a relaxed and harmonious classroom atmosphere, create a friendly and mutual aid emotional teacher-student relationship, encourage and guide students, and truly be student-centered. In this way, we can reduce students' anxiety, adjust students' psychology to the best state, and promote the all-round development of students' cognition and psychology. Acknowledgement This dissertation is a phase result of the 2020 Project Library “Academic Enhancement Program” by Yang Deling, Guangzhou Academy of Fine Arts, Project Title: Landscape Painting under the Vision of Imaginative Transformation, Project No. 20XSB24. This achievement is the phased result of the planning fund for the research of Humanities and Social Sciences of the Ministry of Education of China “Research on the normal form of personalized interpretation of wisdom Museum Exhibition”, Project No.21ZX038. Supported by the 2021 Guangdong province graduate education innovation plan project “Guangdong joint postgraduate training demonstration base” (Talent training project of joint postgraduate training demonstration base of teaching practice base of Guangzhou Academy of Fine Arts & Guangzhou Ruifeng Audio Technology Corporation), Project No. 6040121010.
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Korniev, A., and Zhe Zhang. "The world of things in traditional Chinese painting." Culture of Ukraine, no. 78 (December 23, 2022): 119–25. http://dx.doi.org/10.31516/2410-5325.078.15.
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The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential remains little realized. Therefore, the relevance of the research is determined by the needs of both theory and artistic practice.
The purpose of the article is to determine the main approaches to the depiction of things, their typological complexes, their role and significance in Chinese classical art.
The methodology. In the research we used general scientific and special research methods. In particular, methods of systematization, content analysis and typology were applied; methods of formal, stylistic, semantic, comparative analysis.
The results. The article outlines the main approaches to studying the origins of still life as a genre in the Chinese artistic tradition. As a result of the analysis of samples of easel and decorative painting, the main models of the representation of things were revealed, their typology, role and means of representation in the visual and content structure of the works were determined. The semantic aspects of pictorial motifs and their connections with the development of handicrafts, Confucian education, tastes and values of the privileged top of society and the development of collecting, are highlighted.
The scientific novelty. For the first time, in the work we touched upon the issue of the formation of still life as a genre and its origins in Chinese painting, highlighted the previous artistic experience of depicting objects of the material environment, defined the main thematic complexes, established their role and significance in classical works.
The practical significance. The results of the research can be used in the development of educational courses in the history of art and provide the necessary material both for creative experiments and for the development of various projects in the field of visual arts.
Conclusions. The results of the analysis of various materials of fine art allow us to claim that in Chinese classical art, other, different from European, options for the representation of the world of things were formed. Typologically, they are represented by three models: a “portrait” of a thing (a close-up of one object with a careful depicting of form and decoration), a thing as a component of a portrait, a catalogue of things (a decorative composition on the theme “4 treasures of a scientist”, “4 noble arts”, “100 antiquities”). In all models, the depicted objects act as personifications of material and spiritual values of society, a sign of Confucian virtues, and as benevolent symbols. The “100 antiquities” complex, which was formed by XVIII century, combined previous lists of valuable things and became a reflection of craft achievements, educational tradition and awareness of its value, and the development of collecting.
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Gagarina, M. "Social and Psychological Predictors of Investment Activity of Russians." Review of Business and Economics Studies 7, no. 4 (February 10, 2020): 13–19. http://dx.doi.org/10.26794/2308-944x-2019-7-4-13-19.
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The level of investment activity among Russians is rather low; that is why the understanding it predictors is of great importance. First, I presented an overview of Russian and international studies of psychological aspects of investment behaviour. Further, I discussed the results of the empirical research using the following sample: 360 respondents from 18 to 68 years old (average age 26 years). In my research, I used methods: socio-demographic characteristics, investment activity, including cognitive and behavioural readiness to invest in different financial instruments, and calculated index of investment activity. As concerns implementation of specific psychodiagnostic methods, I used the Questionnaire of tolerance and intolerance to ambiguity, Personal factors of decision-making, Semantic differential, and Big Five short portrait questionnaire (BF 5–10). The predictors of Russians’ investment activity, including their willingness to invest in cryptocurrencies, show a positive perception of bitcoin, high emotional stability, low intolerance to uncertainty, low rationality, and low kindness to other people.
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Mikhaylova, Y. "Psychological support of crime investigation with the involvement of minors in the Investigative Committee of the Russian Federation." Psychology and Law 6, no. 4 (2016): 95–104. http://dx.doi.org/10.17759/psylaw.2016060410.
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The article describes the aims, tasks and fundamental principles of psychological support of crime investigation with the involvement of minors as a one of the aspects of criminalistical support of the preliminary investigation in the Investigative Committee of the Russian Federation are revealed. Discusses the following areas of psychological support of investigation of criminal cases with participation of minors: participation of a psychologist in the investigative actions, the preliminary interviews with the aim of preparing minors for investigation, the business of the investigator in the choice of tactics of investigative actions and other issues, psychological examination of the minor, the receipt of additional information from minors using methods of applied psychology, compiling a subjective portrait of the alleged offender, psychological analysis of testimonies of minors and others. Also this article discusses the basic principles end actual techniques of interview of minor sexual abuses victims are examined including NICHD Protocol developed by the National Institute of Child Health & Human Development, NICHD.
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Indriyani, Putri Dyah, and Wisnu Subroto. "RIVER HISTORIOGRAPHY IN THE WORKS OF SOUTH KALIMANTAN PAINTS 1950-2000." JURNAL SOCIUS 11, no. 1 (April 15, 2022): 50. http://dx.doi.org/10.20527/js.v11i1.12469.
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The life of the river community in South Kalimantan with the dynamics that surround it over time has undergone a cultural transformation. The cultural transformation that is sometimes so fast makes the orientation of the people change too. These changes are recorded and illustrated in the works of painters from South Kalimantan through scratches on canvas. This research has the aim of being an inventory as well as an insight into the meaning behind river paintings in South Kalimantan as a representation of past communities. The historical method is used to explore data and facts from events left by historical actors, both in the form of writing, paintings, and relics that they have used. Changes in the people of South Kalimantan can be seen or traced through historical research. The results of this study can clearly describe the social reality and beauty of the river communities in South Kalimantan which have changed through the painter's strokes in pictures from time to time. This reality can provide a new understanding of painting as an aesthetic portrait of the traces of the past. Thus, river painting in South Kalimantan can be viewed from various aspects, one of which is through its historiography.
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Hilje, Emil. "Autoportreti zadarskog bilježnika Ilije iz 14. stoljeća." Ars Adriatica, no. 6 (January 1, 2016): 81. http://dx.doi.org/10.15291/ars.178.
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Notarial signs serving to authenticate private and public legal documents emerged in Dalmatia during the 12th century, and by the late Middle Ages they had become a mandatory part of official documents written on parchment for the legal parties. These signs were graphic as a rule: more or less elaborate drawings with decorative motifs, occasionally with integrated typography, yet without any figural elements. Among the very diverse forms of notarial signs preserved in Croatian archives, that of Split’s canon and Zadar’s notary Helias deserves special attention: instead of using a simple graphic symbol, he depicted a young man’s torso, which for several reasons may be presumed to be his self-portrait. More than fifty notarial signs by Helias have been preserved, but it may be presumed that he produced more than a thousand during more than two decades of his career as a notary. These signs are drawing of very small dimensions (3 x 1.5 cm on the average) and most probably not a result of “artistic” ambition, presuming that such terminology applies at all to the visual production of the time. As many other literate men, Helias probably indulged in drawing and incorporated some of this inclination and skill into his work in a peculiar manner. Over the period of two decades, the depicted figure went through several transformations. Starting from a relatively realistic and quite detailed depiction, in the second phase Helias simplified the drawing and enhanced its elements of caricature, ending with a partially stylized and unified version of his sign. Generally speaking, his drawings were closer to the genre of caricature than an official visual representation, which is why he could style them rather freely as compared to the norms that could be observed in the professional circles, especially in the monumental painting of the 14th century. Despite the fact that they seem somehow timeless, their visual features indicate certain knowledge of the formal language of representative painting. Helias’s skilful handling of lines and the ease with which he used a minimum of expressive devices to outline not only the portrait itself, but also the psychological characteristics of the depicted person, are basically a legacy of Gothic visual culture. Self-portrait as a form, albeit absent at least declaratively from medieval monumental painting, was nevertheless present, even if quite rarely and only in isolated cases, in medieval miniature painting (e.g. the self-portraits of St. Dunstan, the notary Vigil, the painter Hildebertus and his assistant Everwinusa, friar Rufillus, the nun Gude, the miniature painter Matthew Paris, or the illuminator Richard de Montbaston and his wife Jeanne). Nevertheless, the paucity of such examples, as well as the spatial and temporal (partly also cultural) distance, makes it difficult to assess the place of Helias’s self-portraits within a broader context. In any case, the group of some fifty portraits from the 14th century, regardless of their dimensions and character, is certainly a peculiar phenomenon in the context of European visual culture. The key point is thereby not the artistic quality of the drawings, but rather the variety of visual communication in 14th-century Dalmatia.
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Kamyar, Khatereh, and Parisa Shad Ghazvini. "The Study of Plant Designs in Painting (Beginning of Islam to the Early 8th Century AH)." Asian Social Science 12, no. 8 (July 7, 2016): 83. http://dx.doi.org/10.5539/ass.v12n8p83.
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<p>The use of plant designs in artistic works of different nations since a long time ago indicates a close relationship between religion, culture, traditions and rituals in any nation with nature. These designs were usually depicted with a symbolic approach and ritual attitude. In ancient Iran, using plant designs has found a mythical aspect or has been used with a symbolic-decorative approach in different works.</p><p>With the arrival of Islam to Iran, this attitude has gradually changed and using plant designs was not done only to express symbols, myth-making or shows its holiness but also it found a scientific and typology aspect in the remaining works of the 3<sup>rd</sup> to 8rh centuries AH. Now, a question arises that were the plant designs depicted in painting of the above periods merely with the aim of expressing the symbolic or decorative aspect or were the other aspects considered? This paper was aimed to answer the above question and confirm the hypothesis that the designs of nature in painting of the 3<sup>rd</sup> to 8<sup>th</sup> centuries AH were done due to the sanction of portrait painting at the beginning of Islam with a focus on the introduction of the performance of useful plants. The tangible representation of them and decoration of literary texts and the expression of the symbolic aspect of plant were not considered. In this regard, it was attempted to refer to little documents in library to describe and analyze the plant designs in painting (the beginning of Islam to the early 8<sup>th</sup> century AH).</p>
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Páscoa, Luciana Viana Barros. "ÚLTIMOS DIAS DE CARLOS GOMES, DE DOMENICO DE ANGELIS E GIOVANNI CAPRANESI: UMA ABORDAGEM ICONOGRÁFICA-MUSICAL." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 12 (May 20, 2022): 76. http://dx.doi.org/10.18542/arteriais.v0i12.12678.
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ResumoO presente artigo aborda a pintura acadêmica histórica Últimos dias de Carlos Gomes (1899), de Domenico de Angelis e Giovanni Capranesi. Esta obra de aspecto narrativo apresenta personagens reais num ambiente ficcional e alegórico, representa o momento da morte do compositor, rodeado por vinte e duas figuras masculinas que são identificadas como personagens históricos, tais como jornalistas, músicos, políticos, militares, um representante da Igreja e os próprios artistas que assinam a obra e se autorretratam. Na composição pictórica, além do retrato de Carlos Gomes, observam-se mais três elementos de iconografia musical: o piano do compositor, a partitura da ópera Il Guarany, e um quadro de gênero que cita o painel parietal Peri e Ceci do Salão Nobre de Teatro Amazonas, realizado pelos mesmos artistas italianos. A ópera Il Guarany foi levada aos palcos líricos europeus a partir de 1870 com grande sucesso, tornando-se uma das obras artísticas do século XIX que mais se identificou com o desejo nacionalista brasileiro. Vale ressaltar que as imagens de Carlos Gomes geralmente são associadas à sua obra, e este aspecto composicional pode ser visto na pintura de De Angelis e Capranesi e também na fotografia de Felipe Fidanza, que retrata o compositor em seu leito de morte. Apresenta-se aqui um estudo iconográfico musical da pintura que integra o acervo do Museu de Arte de Belém, relacionando os aspectos estéticos e simbólicos da representação da morte de Carlos Gomes com a construção do culto à sua personalidade e à permanência de sua música, notadamente Il Guarany, no repertório brasileiro.AbstractThis article deals with the historical academic painting Últimos dias de Carlos Gomes (1899), by Domenico de Angelis and Giovanni Capranesi. This painting presents a narrative that shows real characters in a fictional and allegorical environment, which represents the moment of Gomes’ death, surrounded by other twenty-two male characters: influential persons from politics, church, military, press, arts, including the painters themselves. In this scene, besides Carlos Gomes portrait, we can find three more musical iconography elements: a piano, probably the composer instrument; the Il Guarany score; and the great wall painting called Peri e Ceci, another De Angelis and Capranesi painting work, situated at the Honor room of the Manaus Opera House. Il Guarany was staged since 1870, achieving great success and a special symbol status for the brazilian nationalism in the XIXth century. We can also consider many associative aspects of Gomes’ music in his own portrait, this particular feature can be observed at De Angelis and Capranesi painting, as well as depicted in a Felipe Fidanza’s photograph, which brings the brazilian composer in his deathbed. This paper concerns this theme, proposing an iconographic analysis that contributes to know more about the personality cult procedure as a strategy for musical maintenance of Gomes’ work, specially Il Guarany in the brazilian cultural scene.
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Savchenkov, Alexey Viktorovich, Natalia Viktorovna Uvarina, and Elena Alexandrovna Gnatyshina. "Determining specific features of vocational students’ socio-psychological portrait: Moral educational aspect." Science for Education Today 12, no. 4 (August 31, 2022): 46–71. http://dx.doi.org/10.15293/2658-6762.2204.03.
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Introduction. The problem of reducing the role of moral education is becoming especially relevant for secondary vocational education. The purpose of this study is to identify the specific features of students’ socio-psychological portrait for organizing an effective and efficient educational process in vocational educational institutions. The identified features are supposed to be used in the course of preparing future teachers for implementing moral education within the framework of vocational educational settings. Materials and Methods. The study followed systemic, axiological, contextual, nuclear and learner-centered approaches. The authors also relied on S.L. Rubinshtein’s structural approach to personality studies, as well as on the conception of preparing future teachers for moral educational activities (A.N. Tkacheva et al). A survey based on the questionnaire developed by the author was conducted in the Ural Federal District (the Russian Federation). It was aimed at identifying the features of vocational students’ socio-psychological portrait. The research sample consisted of second, third and fourth-year vocational students (n = 387). Results. This article analyzes the views of Russian and international researchers on the following aspects: age characteristics of vocational students (psychological characteristics of adolescence); the main difficulties faced by students in the learning process; socio-psychological portrait of vocational students. The article also presents the results of a survey of vocational students in the Ural Federal District, aimed at identifying the features of their socio-psychological portrait. Within the framework of the theoretical analysis, the following specific features of the socio-psychological portrait of vocational students have been revealed: 1) during the adolescence, a large number of personal contradictions often lead to conflicts and intolerant behavior of students, which complicates the process of their training and moral education; 2) most of the students are brought up in low-income single-parent families, they are mainly focused on obtaining a working profession, and vocational training is of paramount importance for them. During the empirical study, it was found that: 1) nearly half of those surveyed (56.33%) made an independent choice of their future profession, while the majority of the students (55.81%) had a clear intention to get a working profession; 2) more than half (55.30%) of vocational students faced educational and life difficulties during their school years, and the vast majority (72.90%) had difficulty in certain subjects, which indicates gaps in their basic training; 3) among the difficulties accompanying the learning process, the respondents mentioned time management (42.89%), low income (49.61%) and learning difficulties (39.79%); 4) among special values, the vocational students mentioned cooperation (79.84%), goodwill (66.15%), honesty (59.43%) and justice (59.17%). The identified qualities can determine successful and efficient moral educational process at vocational educational institutions. Conclusions. The results of the theoretical analysis and empirical research, namely the identified age, psychological, cultural and other characteristics of students and economic and social conditions of their living, must be taken into account in order to organize an effective and efficient educational process in vocational educational institutions. Some points of the survey results coincide with the conclusions made in previous research investigations: the orientation of students towards professional activities, the independent choice of a working profession by the majority of vocational students, and the secondary importance of moral educational activities.
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Katolyk, H., and J. Binnebesel. "PSYCHOLOGICAL PORTRAIT OF A SERIAL KILLER IN THE INTRASUBJECTIVE PERCEPTION OF THE ORDINARY CITIZEN." Psychology and Personality, no. 2 (October 6, 2022): 242–54. http://dx.doi.org/10.33989/2226-4078.2022.2.265502.
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The topic of serial killers is incredibly relevant today, because these people appear everywhere and spread fear and death. Today it is unknown exactly who they are and how many lives have already been taken, and how many more will be taken… The exact number of victims, of some already caught and punished killers, is unknown. The difficulty is also in "hunting" for such people: until a pedantic and attentive maniac makes a mistake, it is difficult to catch him, because he is competent in how to plan the murder, so as not to leave evidence. Unfortunately, investigators, psychiatrists and psychologists still often misunderstand the thinking of such individuals, which directly affects the quality of the investigation process. Ukraine, as a democratic state, recognizes people, their life and health, honor and dignity, inviolability and security as its top priorities. In fact, this is the greatest social value. Everyone has the inalienable right to life. It is the legal protection of a person from criminal encroachments on life and health, as the most important social values, that the state should provide through its law enforcement agencies. We are in a state of prolonged military intervention amid an even longer pandemic with ever-increasing threats of social instability and existential personal and social crisis. All these factors increase the general state of increasing social aggression, which in turn can stimulate and stimulate (as recent events in Bucha and other places of hostilities show) people who are on the verge of pathological aggression to active action.
Therefore, the chosen topic of our research, namely "Psychological portrait of a serial killer in the intrasubjective perception of the average citizen" may reveal new aspects of this problem.
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Sitnikova, Aleksandra A. "VISUALIZATION OF THE ESSENCE OF HENRI ROUSSEAU’S OEUVRE IN THE PICTURE “TO FETE BABY (CHILD WITH PUPPET)” (1903) FROM THE KUNST MUSEUM WINTERTHUR COLLECTION." SIBERIAN ART HISTORY JOURNAL 1, no. 2 (2022): 32–54. http://dx.doi.org/10.31804/2782-4926-2022-1-2-32-54.
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The article presents a study of the work of the French artist H. Rousseau "To fete baby (Child with puppet)" 1903. The disposition of the work in the artist's work is carried out, in which a number of reflective works stand out over the concept of author’s own creativity and worldview - this is the painting "Myself, portrait-landscape" and children's symbolic portraits - "Girl with a Doll", "Boy on the Rocks" and " To fete baby (Child with puppet)". The artistic idea of the work is revealed - a representation of a serious attitude to childhood, which continues to control a person in adulthood; the concept of the image of an ideal artist who perceives the world around him in a childishly simple and natural way and is inspired by nature. The significance of the work " To fete baby (Child with puppet)" for French culture at the turn of the 19th-20th centuries is considered - in particular, the consonance of the ideas of H. Rousseau with the psychological concept of Z. Freud.
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Chung, Kyungsook. "A Study on the Handwritings and Seals of Portraits and Flower-Bird-Animal Paintings of Chae Yongshin(1850-1941)." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 953–67. http://dx.doi.org/10.33645/cnc.2022.9.44.9.953.
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This paper aims to set the criteria on Portrait and Flower-bird-animal paintings of Chae Yongshin(1850-1941). To establish the purpose, 33 pieces of Portrait paintings and 12 pieces of Flower-bird-animal paintings were selected and analyzed in terms of the handwritings of articles and seals. There was no significant similarity between the handwritings of selected works and Chae Yongshin’ letter. The results showed that there must be others who wrote the articles on the works instead of Chae Yongshin. Even though this study didn’t get a satisfying result, it put meaning to consider and collect the handwriting and seals as database for future usage. A follow-up research on the painting style in Flower-bird-animal paintings of Chae Yongshin will be proceeded soon.
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Sunarti, Euis, Aliya Faizah Fithriyah, Nikmatul Khoiriyah, Winny Novyanti, Intan Islamia, and Viena R. Hasanah. "Portrait of Indonesian Family During One Year the COVID-19 Pandemic: Analysis of Factors Influencing Family Welfare and Resilience." Journal of Disaster Research 17, no. 1 (January 30, 2022): 31–42. http://dx.doi.org/10.20965/jdr.2022.p0031.
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This study aimed to capture aspects of Indonesian family life during a year of the COVID-19 pandemic. Data collected through online questionnaire survey, followed by 1048 participants with wide-ranged socio-economic status. The COVID-19 pandemic expands the vulnerability of families, brings economic pressure, symptoms of stress, disrupts food security and psychological welfare. However, the family tries to overcome and balance it by managing resources and increasing interaction and worship. They believe they can overcome problems, accompanied by the belief that the pandemic is a trial from the Almighty. An interesting finding was that during a pandemic, many families were stepping up their donations. The important findings of this study are the higher the stress level, the lower the social welfare, psychological welfare, and family resilience. Meanwhile, the social and psychological welfare of the family is positively influenced by the welfare of the child. Family resilience is directly and positively influenced by food coping strategies and social welfare, but is negatively affected by perceived stress symptoms. Economic pressures lead to higher social welfare which is manifested by better communication, decision making, donation, and family time management. The findings of this survey show the importance of families managing stressors and increasing family resilience.
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Leontovich, Olga Arkad'evna, and Nadezhda Nikolaevna Kotelnikova. "A semiotic portrait of a big Chinese city." Russian Journal of Linguistics 26, no. 3 (September 30, 2022): 701–20. http://dx.doi.org/10.22363/2687-0088-31228.
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Urban communication studies is a growing field of research aiming to reveal the regularities of human interaction in an urban context. The goal of the present study is to examine the semiotics of a big Chinese city as a complex communicative system and its effect on the social development of urban community. The material includes over 700 units (toponyms, street signs, advertisements, memorials, local foods and souvenirs, mass media, etc.) mostly collected in Tianjin, China’s fourth biggest city with a population of almost 14 million people. The research methodology is based on critical discourse analysis, ethnographic and semiotic methods, and narrative analysis. The study reveals the structure of communication in a big Chinese city and the integration of language into the city landscape. It indicates that urban historical memories are manifested in the form of memorials, symbols, historic and contemporary narratives. The physical context is associated with names of streets and other topological objects. Verbal and visual semiotic signs are used to ensure people’s psychological and physical safety. Social advertising predominantly deals with the propaganda of Chinese governmental policy, traditional values and ‘civilized behaviour’. Chinese urban subcultures, such as ‘ant tribe, ‘pendulums’, ‘shamate’, etc., reflect new social realities. Food and foodways are defined by cultural values and different aspects of social identity. The image of a big Chinese city is also affected by globalization tendencies and the COVID-19 pandemic. The research framework presented in the study provides an opportunity to show a wide panorama of modern urban life. It can be extrapolated to the investigation of other big cities and their linguistic landscapes.
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Ermolova, T. V., A. V. Litvinov, N. V. Savitskaya, and O. K. Logvinova. "Priorities of psychological and educational work with generation Z (foreign experience)." Современная зарубежная психология 9, no. 4 (2020): 89–102. http://dx.doi.org/10.17759/jmfp.2020090408.
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The article analyzes foreign data on the characteristics of the psychological profile of the digital generation and counter-actions of employers, as representatives of previous generations, in order to understand and develop a common language in contacts. The authors consider this multi-level interconnectedness in a space-time structure that combines the educational system and the labour market. For the first time, it is proposed to apply the term of the forward request to the interpretation of the work of this design on the principle of feedback. The material proposed for discussion is differentiated into blocks: a general idea of the psychological portrait of teenagers and youth of the generation; forwarding requests to the educational system from employers and professionals (in the sought-after areas of professional sports, business, tourism, medical and social services); resources to shape the competencies of the generation Z; certain aspects of the topic. The article reveals a number of topical points (assistant ego, prenosological diagnostics, status assessment tools). In conclusion, it is intended to recognize the need to "refine" personal socio-psychological deficits in order to alleviate the difficulties of integrating young people into the workforce.
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Dvornikova, Olga, Vasily Samokhin, and Sergey Dvornikov. "Analyzing the first-year students’ motivation in choosing a technical university during the pandemic." Ergodesign, no. 1 (March 15, 2022): 45–50. http://dx.doi.org/10.30987/2658-4026-2022-1-45-50.
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The results of studying the motivational aspects of young people’s choice for admission to the Bonch-Bruevich Saint Petersburg State University of Telecommunications during the pandemic are presented based on processing the data from the first-year students’ annual testing. The characteristics of the respondents participating in the study are given. The areas covered by the research methodology are substantiated, and the stages of its implementation are disclosed, since testing was carried out in a delayed online mode. A detailed analysis of the results obtained is presented, some indicators of which are evaluated in relation to those of the pre-pandemic period. The main directions of the research are brought to light and substantiated. The identified negative aspects arising due to the conditions of distance learning that affect the respondents are revealed. The findings characterizing a freshman’s generalized socio-psychological portrait are presented. Recommendations on working with first-year students in a pandemic from a psychologist’s position are formulated to the university teaching staff and administration.
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Liashenko, Tatiana. "Lexis of the thematic group “food and food consumption” in the novel by Mikhail Saltykov-Shchedrin “The Golovlyov Family”." Litera, no. 11 (November 2020): 84–96. http://dx.doi.org/10.25136/2409-8698.2020.11.34150.
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The subject of this research is lexemes of the thematic group “food and food consumption” in the novel by Mikhail Saltykov-Shchedrin “The Golovlyov Family”. The object of this research is the functional yield of these linguistic units in the text. The author of the article describes the functionality of food images in literature in form of the system of oppositions “external (existential) – internal (psychological)”, and “static-dynamic”. The four functions are differentiated: external static (food image as a detail scenery), external dynamic (food image as a theme-forming element), internal static (food image as an element of portrait of the character), internal dynamic (food image characterizes the dynamics of relations between the characters). It is noted that the thought on “low functionality” of gastronomic images in a literary text, which is expressed in some research, testifies to insufficient study of such rich material. Food as a literary image, as well as the motif of food consumption in a literary text always convey semantic meaning. In the novel “The Golovlyov Family”, the words with “food” semantics serve for the formation of external, existential aspect of narration, as well as internal, psychological aspects. Images of food alongside motifs of food consumption are characterological (describing portrait of the character) to a lesser degree, and more often used for demonstrating relationships between the characters.
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Bella, Takushinova. "Parsuna – the first secular representation of the traditional Russian icon." Resourceedings 2, no. 3 (November 12, 2019): 1. http://dx.doi.org/10.21625/resourceedings.v2i3.618.
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The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.
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Marin, E. B., and S. Yu Tsoy. "Value-Motivational Factors of Job Satisfaction in Public Health Care Workers." Bulletin of Kemerovo State University 21, no. 3 (October 5, 2019): 726–40. http://dx.doi.org/10.21603/2078-8975-2019-21-3-726-740.
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The article contains the results of an empirical study of the relationship between the aspects of the value-motivational sphere and job satisfaction in medical workers. The study was conducted on the basis of the Vladivostok Clinical and Diagnostic Center. The research revealed some factors of value-motivational sphere of personality that affect job satisfaction. Using this model of correlation, the authors describe the systems of relations between values, motivations, and job satisfaction. The paper also describes the leading role of the values of achievements and power that are reflected in the motivational sphere and job satisfaction. They, in turn, also form a self-sustaining system in the personality structure of employees. The article also features a psychological portrait of the average employee of the All-Russian Exhibition and Convention Center (generalized respondent). The results of the research are of both theoretical and applied significance. The obtained knowledge can be used to create a system of staff motivation, in the selection of personnel, as well as to create a more favorable socio-psychological climate and improve the efficiency of employees.
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.