Journal articles on the topic 'Tatar Artists'
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1
Ulemnova, Olga L. "The Kazan Avant-garde of 1910–1930s: Regional and National Specific Features." Koinon 3, no. 2 (2022): 147–72. http://dx.doi.org/10.15826/koinon.2022.03.2.021.
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The article highlights the regional version of the Russian avant-garde, which developed in such an important artistic center of Russia as Kazan, the capital of a vast region with a multi-confessional and multi-ethnic population. The article reveals the origins of the phenomenon and the main stages of its development, due to such historical events as the creation and reorganization of the Kazan Art School, the First World War and the Civil War, the revolution of 1917. The author positions the art of Kazan as part of the all-Russian artistic process. The new state cultural policy began to guide its development during the revolutionary years. Avant-garde artists elaborated and directed it towards the promotion and widespread propaganda of avant-garde art. The author reveals the development of the avant-garde through the activities of the art associations of Kazan — “Sunflower”, “Vsadnik (Rider)”, “TatLEF”, “SULF”, through the work of leading artists — K. Chebotarev, A. Platunova, I. Nikitin, S. Fedotov, I. Pleshchinsky, N. Shikalov, F. Tagirov, B. Urmanche and others. The author singles out the features of the Kazan avant-garde, determined by national and religious factors: the two main peoples of the region are Russians and Tatars, who profess Orthodoxy and Islam. This determined the predominance of Russian artists at the fi rst stage, their passion for various styles of the European avant-garde, which were carried out in different types of art. Their interest in the art of the peoples of their region became an important source for experiments. The formation of a galaxy of artists-Tatars was a characteristic feature of the Kazan avant-garde after the mid-1920s. The abolition of the religious restrictions of Islam which did not allow the development of the Tatar fi ne arts was adopted after the revolution and facilitated this process. An important role was played by the purposeful activity of B. Urmanche, who attracted the Tatar youth to art education. In this environment, mainly graphic art and theatrical and decorative arts were evolved, and the main stylistic direction of the Tatar avant-garde was Constructivism.
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Khudyakov, Yuliy S., and Alisa Yu Borisenko. "Images of Rulers and Warlords of Siberian Tatar Warriors on the “Brief Siberian Kungurian Chronicle” Miniatures." Vestnik NSU. Series: History and Philology 20, no. 3 (2021): 102–8. http://dx.doi.org/10.25205/1818-7919-2021-20-3-102-108.
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Purpose. The article presents research of the images of Siberian Tatars’ leaders who were restoration adherents of the Tatar Khanate of Sibir, reproduced on miniatures of the Brief Siberian Kungurian Chronicle. Despite the drawings having been created a few decades after those lands, which had been part of the Tatar Khanate of Sibir, were annexed by the Czardom of Russia, these images very clearly illustrate representations of contemporaries of the appearance of Siberian Tatar rulers and warlords during the historical period of struggle for conservation of the Western Siberian steppe and forest-steppe lands as part of the Siberian Tatars’ State. These drawings represent depictions of significant historical episodes of connections between restoration adherents of the Tatar Khanate of Sibir with the Russian Cossacks and several Turkic and Mongolian people, who inherited contiguous steppe territories of the Central Asian historical and cultural region. Results. Certain historical events, illustrating an armed confrontation of Siberian Tatars, who supported Kuchum Khan in the struggle for conservation of the Siberian Tatars’ State, against military troops of the Oirats and Nogais are considered and analyzed. The studied images can serve as an important informative pictorial source on history of accession of former possessions of the Tatar Khanate of Sibir to the Russian State. It is highly probable that several artists took part in creating this set of drawings, depicting the primary events of the Western Siberian military campaign of the Cossacks’ troop, led by ataman Yermak. This argument is supported by certain stylistic differences between several drawings, included in the Brief Siberian Kungurian Chronicle. For the last years these drawings have been repeatedly published, facilitating their focused scientific study. Results. Despite the considered drawings having been created much later than the events depicted on them, they serve as an important informative source on the history of the Western Siberian campaign of the Cossacks’ troop, led by ataman Yermak. Conclution. These drawings provide a clear overview of many historical events which took place during that period.
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Abdulkhakova, Aislu R. "From the History of the Tatar Soviet Children’s Book Art." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 56–60. http://dx.doi.org/10.25281/0869-608x-2010-0-3-56-60.
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In this article the national origins of Tatar children’s book art formation and the influence of Russian traditions of book design are considered. The history of Tatar children’s book design art development in the Soviet period covers the field briefly. The author succeeded in eliciting some facts in the field of children’s book design in the local archival and printed sources, and these facts are produced in the article. The names of some graphic artists are mentioned.
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Zamaletdinova, G. F., and A. R. Motigullina. "From the history of the Tatar children’s press." Tatarica 22, no. 1 (June 15, 2024): 100–118. http://dx.doi.org/10.26907/2311-2042-2024-22-1-100-118.
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This research work is an anniversary type article. It systematizes materials on the history of the Tatar children's press, namely the 100th anniversary of the magazine “Yalkyn” (Flame) and the first publication of the newspaper “Yash Leninchy” (“The Young Leninist”). The article studies the role of these printed publications in the upbringing of children and in strengthening their civic identity. We prove that the activities of the young correspondents' school were effective, for it has given the Tatar people famous writers, journalists, artists, composers and other prominent cultural figures.
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Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
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The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
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KOCHERHA, Svitlana, and Oleksandra VISYCH. "CRIMEAN TRAVELOGUES BY LESYA UKRAINKA AND IVAN TRUSH: INTERMEDIAL PARALLELS." INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 1, no. 7 (September 30, 2023): 58–80. http://dx.doi.org/10.56378/skov20230909.
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The Purpose of the Study is to present the results of the research on the artistic approaches undertaken by painter Ivan Trush and writer Lesya Ukrainka in capturing the multidimensional essence of Crimea. Both artists are prominent representatives of the Ukrainian modernistic culture of the late 19th and early 20th centuries. They paid great attention to the representation of natural and cultural landscapes that inspired European artists. For the first time, the subject of analysis in the article is a comparison of the Crimean discourse by representatives of different art forms, which is the Novelty of the Study. The Мethodology. The topic is comprehended through intermedial interpretation, which involves examining how various artistic forms interact and influence one another. Additionally, the study employs elements of imagological analysis as a branch of comparative studies, delving into cultural images and stereotypes presented in the artists’ works. The Conclusions. The paper proves that Lesya Ukrainka and Ivan Trush expanded the palette of national art with traveling motifs. The Crimean trips played an important role in shaping the creative personality of both authors. In several of their works, mirror impressions are captured through different art forms. Both Trush and Lesya Ukrainka proved to be masters of marine landscapes and mountain views. Both poeticized the exotic vegetation of the Crimea in their travelogues. The poet and painter discovered Crimean Tatar culture, which is represented by images of religious buildings and ethnic peculiarities of local people’s clothing. With their Crimean texts, Lesya Ukrainka and Ivan Trush significantly enriched the traditional picture of the Ukrainian world. The results acquired can serve as a foundational platform for subsequent scholarly inquiries into the intricate cultural interplay between Ukrainian and Crimean Tatar heritages, grounded in the analysis of visual and literary artistic expressions
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Ilyasova, Razilya I. "NADIR ALMEEV AND “PROMETHEUS” DESIGN BUREAU: EXPERIENCE OF COOPERATION. ON THE EXAMPLE OF THE LIGHT-MUSICAL FILM “SMALL TRIPTYCH” (1975)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 78–89. http://dx.doi.org/10.36340/2071-6818-2021-17-3-78-89.
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The article considers the little-studied pages of the development of light music in Kazan on the example of the cooperation of graphic artist Nadir Almeev with “Prometheus” Student Design Bureau under the guidance of physicist Bulat Galeev. The artist Nadir Almeev is a master of graphics, professionally proficient in various etching techniques: etching, aquatint, reserve, dry needle. In 1977-1990, he regularly studied at the Senezh Studio-the Central Educational and Experimental Studio of the Union of Artists of the USSR under Evgeniy Sidorkin and Sergey Zarovniy. The artist’s creative search was reflected in such series as “Icarus” (1969),” Memory of running “(1977),” Bullfight “(1980),” Per aspera” (1996),”Spleen” (1995) and others, combining the unrestrained imagination with strict organization. No matter what topics Nadir Almeev touches on, no matter what technique he works in, he surprisingly constructs an entire Universe at once from individual strokes and inconspicuous details. Since 1966 Nadir Almeev collaborated with the Tatar Book Publishing house, with the newspaper “YashLeninchy”, since 1975 with the Kazan newsreel studio: he participated in the creation of the films “Jalil, the Wanderer of Struggle” (1976), “Cosmic Sonata” (1982), illustrated books and booklets. He is member of the Union of Artists of the USSR since 1985. A bright, but little-studied stage of the artist’s work was the film “Small Triptych” (1975). The film appeared to be an attempt to combine several types of art together, while expressing deep, philosophical thoughts. So, the activity of the members of “Prometheus” Student Design Bureau was to create a new, independent art of light music, where sound, light and image will be equal components of a single design, a reflection of the real “polyphony” of the surrounding reality. This article for the first time reveals the features of the creative method and the innovative role of the artist Nadir Almeev in the development of the Kazan school of light-music on the example of the first in the Soviet Union rolling light-music film to the music of Grigoriy Sviridov “Small Triptych”. The original sketches created by the artist for the film in the author’s technique using hydrotype pigments on wet paper are analyzed. A series of abstract sketches, devoid of any illustrative content, are arranged according to the musical development of the work. The purpose of this article is to reveal the role and significance of Nadir Almeev in the activities of “Prometheus” Student Design Bureau. Key words: synthesis of arts, synthesis, light-music, graphics, hydrotype printing, Grigoriy Sviridov, Bulat Galeev, Nadir Almeev.
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Kornilova, Irina, Albert Nigamaev, and Azat Rafikov. "Fate of Kazan art of the Soviet era." OOO "Zhurnal "Voprosy Istorii" 2022, no. 4-1 (April 1, 2022): 124–32. http://dx.doi.org/10.31166/voprosyistorii202204statyi27.
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The article is devoted to the analysis of the series of works, published by Professor N.M. Valeev, Doctor of Philology and dedicated to the milestones of life and creative paths of the outstanding Soviet artists, graduates of the Kazan Art School K.K. Chebotarev and A.G. Platunova. The author of the research pays a great attention both to the unique flavor of the Soviet art of the 1910s-1970s and to some small events of Kazan life, history of the Tatar Republic, local history. While working on his articles and monographs N.M. Valeev used material from different sources: the archive of the Russian Museum, the State Archive of the Republic of Tatarstan, the Scientific Archive of the Institute of Language, Literature and Arts, named after G. Ibragimov, of the Academy of Sciences of the Republic of Tatarstan, the archive of the State Museum of Fine Arts of the Republic of Tatarstan, regional and All-Russian periodicals, catalogs of art exhibitions, theater posters. Autobiographical material is of great use in the research, it helps to reveal K.K. Chebotarev’s and A. G. Platunova’s vision of the artist’s mission in society.
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Vagapova, Firdaus G. "The Architecture of Kazan in Graphics of the Tatar Satirical Magazines “Yashen” and “Yalt-Yult”." Observatory of Culture 16, no. 3 (July 19, 2019): 290–99. http://dx.doi.org/10.25281/2072-3156-2019-16-3-290-299.
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One of the positive phenomena of modern culture is its tendency to study and preserve urban space, which is especially important for historical cities. The appeal of researchers to the study of urban landscapes, made by artists of previous eras and left for descendants to see the views of large and small cities, contributes to the process of lost monuments reconstruction. The importance of studying images of cities through visual sources is determined by the fact that cities are territories connected with lives of people, who are involved in creation of their architectural monuments. Cities are the habitat of people that reflects their daily life. The article, for the first time, explores the features of the Kazan urban art of the early 20th century reflected in graphic works of the Tatar satirical magazines “Yashen” (“Lightning”) and “Yalt-Yult” (“Sparkle”), published in the early 20th century. The drawings presented in “Yashen” and “Yalt-Yult” are illustrations to articles and feuilletons.Most of the drawings are made in the genre of cartoons, which is predetermined by the studied magazines’ subject matter. Mainly, architectural objects depicted in the cartoons of “Yashen” and “Yalt-Yult” magazines do not have an independent meaning, they are only “present” in picture’s composition in order to show an event from the city’s life more clearly. Another group of the Tatar satirical magazines’ drawings represents the images of the architectural structures that illustrate texts of advertisements. In this group’s graphics, depiction of architectural monuments is characterized by careful elaboration of details due to the reconstruction of the architectural structure’s image through visual memory. Because of the fact that at the beginning of the 20th century, the main part of the Tatar population of Kazan lived on the territory of the Old and New Tatar Slobodas, the authors of articles, feuilletons and cartoons in the magazines mainly reflected the life of those parts of the city.The research is based on the study of fundamental works and publications of Russian scientists and the analysis of the body of sources: articles and drawings from the magazines “Yashen” and “Yalt-Yult”, archival materials.
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Kovalchuk, Igor. "The development of the Ukrainian icon during the fourteenth and nineteenth centuries." Ukrainian Religious Studies, no. 76 (December 1, 2015): 91–108. http://dx.doi.org/10.32420/2015.76.600.
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There are very few monuments of icon art of the 13th-15th centuries, but they give a great opportunity to learn a lot about the state of the Ukrainian Church of that time, about the strengthening of faith, and also about the stylistic quest for Ukrainian artists. The development of the iconography of those centuries in Ukraine marked the Tatar-Mongol invasion. When a person or a whole nation falls into a difficult situation, faith in God grows, spirituality rises. Monuments of culture of the XIII-XV centuries record especially jealous hope in God, the strengthening of the religiosity of different sections of the people. From this time there is hardly any secular art: everything preserved is permeated with Christian religiosity. In these years, such great temples are not already built, as in the early centuries of Christianity in Russia, but small, but well-fortified churches throughout Ukraine are built. There are also various centers of icon-painting. Their masters focused mainly on the ancient art of Kiev, introduced in their samples many local elements. Icons painted in various spiritual centers, in particular in the monasteries, are striking by their monumentality and severity, which reflected that day (See: The History of Ukrainian Art, Vol. 6, vol., 1968).
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Shishka, Evgeniy A. "Visual image of the Mongols in the Battle of Legnica in visual monuments of the 14th–15th centuries." Issues of Museology 12, no. 2 (2021): 222–37. http://dx.doi.org/10.21638/spbu27.2021.206.
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The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is currently in the collection of the National Museum in Warsaw and in the images of the Freytag Codex, stored in the collections of the library of the University of Wroclaw (Poland). The author notes the preserved interest of Europeans in the Gentiles and in the events of the past centuries. The corpus of ethnic markers used by European artists to designate “strangers” is highlighted. Also, an association is made between the creation of images with Mongols in regard to the invasions of Tatar and Hussite troops in Silesia in the 14th–15th centuries and the struggle with the Moors on the Iberian Peninsula as well as the need to consolidate Christian society in the fight against the enemies of the Catholic Church.
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Dalbudak, İbrahim, and Serkan Çelik. "Investigation of Aggression and Emotional Intelligence Characteristics of the Students from Faculty of Sport Sciences and State Conservatory of Turkish Music." International Education Studies 12, no. 9 (August 29, 2019): 117. http://dx.doi.org/10.5539/ies.v12n9p117.
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This study was performed to investigate the characteristics of emotional intelligence and aggression between the students from Ege University Faculty of Sport Sciences and the students from the State Conservatory of Turkish Music. A total of 211 people (top-tier athletes and top-tier artists from Ege University) were selected for the study. Questionnaire method was used in the study. To evaluate the variables of the study, the revised Schutte Emotional Intelligence Scale that was adapted to Turkish by Tatar, Tok, and Saltukoğlu which consists of 41 items and the “Inventory of Aggression” that was developed by İpek İlter (Kiper) which consists of 30 items was used. In this study, the data set was analyzed in the package program SPSS 22.0 and the study was done using frequency tables, reliability analysis, unpaired t-test, one-way analysis of variance, Tukey’s test, and correlation analysis in the analyses. As a result, while a significant positive relationship between the emotional intelligence and the destructive and passive aggression was found (p0.05). We think that this is an important study because it helps us to be informed about the emotional intelligence and the aggression characteristics of the conservatory and sports sciences students and to make a serious contribution to the studies by conducting similar researches with different sample groups in different fields and different branches in different universities.
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Shkurko, Mariia. "Cultural diplomacy of Ukraine during the war." Diplomatic Ukraine, no. XXIV (2023): 741–49. http://dx.doi.org/10.37837/2707-7683-2023-41.
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Abstract. The article explores the role of cultural diplomacy as an essential component of public diplomacy. Western countries have been the focus of Ukrainian cultural relations. However, even though the EU greeted Ukraine with a policy of ‘open doors’ since the beginning of the full-scale invasion, diplomatic relations between the EU and Ukraine remain far from ideal. The study addresses the specific challenges and their possible solutions and and focuses on the strategic targets in the development of Ukrainian cultural diplomacy during the war. The first year of the war featured many diverse cultural and artistic projects held at various levels abroad, from exhibitions and forums to debates and artistic performances. The bulk of Ukrainian cultural diplomacy efforts were directed at the US, the UK, France, and other countries, with a view to drawing attention to Ukraine’s rich cultural heritage. Additionally, the author extensively covers the profound issue of cultural heritage loss due to the russian invasion. The war changed the approaches to cultural diplomacy, having highlighted its crucial role in countering propaganda and hybrid warfare. The article explores the contemporary challenges and strategic areas of focus for developing Ukrainian cultural diplomacy during the war, including russian manipulative narratives that exploit insufficient understanding of Ukraine’s historical and cultural significance observed in some EU countries. With this in mind, maintenance of an accurate perception of Ukraine abroad requires constant adjustment by diplomatic services, such as prioritisation of cultural diplomacy, broadening of its scope, support for artists and Ukrainian studies in foreign universities, emphasis on Ukraine’s multiculturalism, the development of Crimean Tatar studies, etc. Keywords: Ukraine, wartime cultural diplomacy, the West, EU, Global South, South and East Asia, strategic development of cultural diplomacy, challenges, russian aggression against Ukraine.
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Galimullina, G. Kh. "Tatar television legend." Tatarica 22, no. 1 (June 15, 2024): 166–71. http://dx.doi.org/10.26907/2311-2042-2024-22-1-166-171.
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ILYASOVA, RAZILYA. "ILDAR ZARIPOV'S ART AND STYLE DEVELOPMENT (1939-2012)." Культурный код, no. 2023-4 (2023): 61–72. http://dx.doi.org/10.36945/2658-3852-2023-4-61-72.
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The article examines the stylistic evolution of the Tatar national artist Ildar Zaripov in the late Soviet period (1960-1980s). A characteristic is given to his work, where special attention is paid to the early stage. For the first time, an analysis is made of previously unknown paintings by the artist. His inclination to the traditions of the Russian avant-garde during the formation of Ildar Zaripov is revealed. It is concluded that stylistic collisions were a natural and necessary stage for the formation of the artist's individual style.
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Mukhametzyanova, Ilyuza G., and Ekaterina N. Kostina. "THE ORIGINS OF THE FORMATION OF A UNIFIED LITERARY AND CREATIVE ORGANIZATION IN THE TASSR (the 20s of the XX century)." Historical Search 4, no. 3 (September 29, 2023): 43–49. http://dx.doi.org/10.47026/2712-9454-2023-4-3-43-49.
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This article is devoted to the process of formation and activities carried out by literary organizations that existed in the 20s of the XX century.
The purpose of the study is to consider the trends of formation and some aspects of the activities carried out by literary and creative organizations in the 20s of the XX century in the territory of the Tatar ASSR. This period is characterized by creation of many literary organizations, as well as uniting writers and theater workers in associations, which becomes a prerequisite for the formation of a single literary organization.
Materials and methods. The methodological foundation for examining the subject of research is made by the principles of historicism and historical reconstruction, as well as the descriptive-narrative method. Based on the results of analysis of archival documents and published sources, the article reflects: the history of creation and some aspects of the activities carried out by literary organizations of the TASSR in the context of socio-cultural policy in the 20s of the XX century. The research materials made it possible to supplement the existing source base and can be used when writing scientific papers and preserving the historical and cultural heritage of the region.
Study results. The article presents information about the activities of some literary organizations of the 20s of the XX century. The analysis of their activities showed that literary organizations were very active in their desire to reinforce proletarian culture.
Conclusions. The association of writers and artists is considered as a necessary trend in the conditions of a new ideological paradigm evolvement, as the foundation of their professional, cultural, political identification in the new historical realities. Writers’ organizations of the 20s of the XX century contributed to preservation of literary heritage and gave impetus to the development of fiction in the Soviet period. In the early 30s of the XX century, a movement aimed at creating a unified literary organization was set out and intensified.
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Nofrizaldi, Nofrizaldi, Pungky Febi Arifianto, and Elianna Gerda Pertiwi. "ANALISIS TANDA VISUAL DALAM TAGAR CORONA ART MUSEUM." Jurnal Bahasa Rupa 4, no. 1 (October 28, 2020): 42–49. http://dx.doi.org/10.31598/bahasarupa.v4i1.614.
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The gallery is a space of interaction between artists and audiences. In the era of pamdemik covid, gallery space was closed due to physical distancing. Imaginary space is built by utilizing communication and information technology. Instagram as a digital platform is widely used as a space for building artistic interactions. Through the hashtag of Corona Art Museum, the writer looks for some visual works to be used as object of analysis. Verbal and visual signs in the visual content will be dissected using the classification of signs: icons, indexes, symbols from Charles S. Peirce and the system of meaning production of codes using The Five Code: Hermeunetic, Narrative, Cultural, Semantik & Symbolic from Roland Barthes. The reading of visual signs will use the Sumbo Tinarbuko Triadik in looking at aspects of visual communication. The results of reading visual signs will reveal how visual content in an imaginary space can be a space of expression and the existence of an artist / designer.
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Mahendra, Yonata Buyung. "Pengaruh Teknik Pukul pada Tatah Timbul Kulit." INVENSI 5, no. 2 (November 27, 2020): 151–64. http://dx.doi.org/10.24821/invensi.v5i2.3864.
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Teknik pukul merupakan teknik yang dilakukan dengan cara memukulkan/mengetukkan alat pukul ke permukaan benda dengan bantuan tangan dan otot sebagai poros kekuatan. Tatah timbul kulit merupakan teknik dalam kerajinan yang terbuat dari kulit tersamak sebagai media eksplorasi untuk memberikan efek timbul dari permukaan karya yang dibuat. Penelitian ini untuk mengetahui cara seniman mendayagunakan tubuhnya, perlakuan khusus yang diberikan, dan pelacakan mengenai teknik pukul yang digunakan oleh seniman. Peneliti menggunakan pengalaman kualitatif sebanyak lima kali untuk mendapatkan proses pengerjaan secara utuh, mulai dari perancangan hingga proses penatahan selesai. Hasilnya, keputusan seniman bergantung pada proses pengerjaan dan pengalaman seniman dalam berkarya. Perbedaan perlakuan pada pembasahan dan proses perancangan, pengenalan bahan, dan pemolaan adalah bentuk keputusan seniman dalam berkarya. Kegagalan dan keberhasilan tatah timbul kulit bergantung pada sudut pukul dan kelembaban kulit. Kekuatan pukul yang cukup besar akan memengaruhi kerusakan dan melesetnya pukulan yang dilakukan.The Impact of Hit Technique in Leather Carving ABSTRACT The hit technique is a technique carried out by striking/tapping the instrument against the object's surface with hands and muscles as the axis of strength. Leather carving is a craft technique made from tanned leather as an exploration medium to give an embossed effect on the surface of the work being made. This research is to find out how artists utilize their bodies, special treatment given, and tracking of the technique used by artists. Researchers use the qualitative experience as much as five times to get the whole work process from design to the carving process. As a result, artists' decisions depend on the process of work and artists' experience in their work. Differences in treatment in the wetting and design process, the introduction of materials, and patterning are forms of artists' decision to work. Failure and success of the skin's appearance depend on the skin's angle of hit and moisture. The strength of a large enough hit will affect the damage and miss the blow made.
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Plomp, Michiel C. "Leonaert Bramer (1596-1674) als ontwerper van decoratie op Delfts aardewerk." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 197–216. http://dx.doi.org/10.1163/187501799x00373.
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AbstractThe Delft artist Leonaert Bramer (1596-1574) appears to have been intensively involved in the decoration of Delftware. Hitherto four separate examples were known, mostly dating from the 1650s and 1660s (figs.1, 2, 4, 6). The article presents ten (perhaps eleven) new examples of 'Bramer ware' (figs. 8, 9, 11, 13, 15, 17, 19, 21, 23(?), 26; see also note 19) produced between possibly as early as 1630 and 1670. Furthermore, eight of his designs have been found in the archives of the Koninklijke Tichelaar Makkum pottery; the compositions were 'pounced' onto the pottery, i.e. stencilled by dusting powder through a pricked paper pattern (figs. 24, 25, 27, 28, 29, 31, 32). Two early series of drawings by Bramer from the 1630s (most of them in London-scenes from the Old Testament-and Bremenscenes from the New Testament), or derivations from them, seem to have frequently served as patterns for pottery painters (figs. 3-21). Oddly, one of these compositions, Joseph cast into the well by his brothers (fig. 10), occurs on a dish decorated with grotesques which is often regarded as Haarlem work (fig. 11). The use of a Delft artist's composition, combined with the fact that Marion van Aken-Fehmers (Haags Gemeentemuseum, The Hague) has traced a similar grotesque dish bearing the mark of the Delft pottery 'De Porceleyne Bijl' (see note 18), clearly shows that I laarlem did not have a monopoly on grotesques. A total of ten pounces are kept at Makkum: four drawings by Bramer (figs. 24, 25, 27, 29; two pricked repeats of the composition Jacob's Dream: fig. 28) and four pricked stencils (figs. 31, 32). Stylistically, the drawings can be dated to the late 1650s. All ten are pricked along the outlines; the four original drawings are 'matrixes', the others were used as stencils. The composition of Judah and Tamar (fig. 25) is virtually identical with Bramer's version of twenty years earlier. The Judah and Tamar pounce was used until well into the 18th century, judging by a plate dated 1783 in Paris (fig. 26). The coarse manner of painting demonstrates that the use of a pricked paper pattern based on the design of a professional artist was no guarantee for the quality of the result, which depends enti rely on the pottery painter. This accounts for the frequently mediocre standard of the painting on most plates. Nevertheless, a few plates and dishes display painting of such high quality and a manner so similar to Bramer's that it is not unlikely that they were painted by the Delft artist himself (figs. 2, 6, 21). 'Bramer ware' is unmarked. However, on grounds of circumstantial evidence three potteries can be identified where Bramer ware might have been produced: 'De Porceleyne Fles', 'De Grieksche A' and 'De Dissel'. 'De Dissel', where Abraham de Cooge worked, is a likely candidate, in view of a large series of drawings which Bramer made for De Cooge in 1646 (see note 7). In the past, much surprise has been evinced at the gap between the artists of Delft and the potters and decorators of pottery. Despite the heyday of both painting and the pottery industry in Delft in the mid-17th century, and despite the fact that artists and potters were members of the same guild, they seem to have operated quite separately. The material assembled here has brought artists and potters a little closer to each other.
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Miftakhutdinova,, N. M. "Unknown pages from the biography of the Tatar artist Hadji-Murat Kazakov." Tatarica 20, no. 2 (December 15, 2023): 142–54. http://dx.doi.org/10.26907/2311-2042-2023-21-2-142-154.
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Based on the analysis of archival documents, the article systematizes new facts from the life of the Tatar artist Hadji-Murat Kazakov, shedding light on his work during World War II and the post-war construction. The epistolary sources, introduced into circulation, reveal such a facet of his creative nature as his talent of a graphic artist and a restorer.
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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.
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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the paper itself) is the creator’s own work. From the Early Modern Age and especially from Romanticism onwards, the sketchbook of the artist grew rapidly in its importance. In this paper, however, I would like to survey another aspect: when the book, and especially its material property or physicality, serves as the basis of the creation of a novel artwork. In other words, I focus on pieces of art where the book is not simply a depicted motif or an attribute and it is not even a newly-created book-art object. Hence my current examination aims to analyze the phenomenon of the book, as how its materiality and referential ability may inspire the artist to further develop considerations on cultural, social and political issues. Works by Sophia Pompéry, Ákos Czigány, the art collective Slavs and Tatars, Jorge Méndez Blake and Carla Filipe are analyzed.Article received: April 15, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review ArticleHow to cite this article: Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies 19 (2019): 69-75. doi: 10.25038/am.v0i19.306
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Nurgayanova, N. Kh. "The bright light of talent (on the 110<sup>th</sup> anniversary of the outstanding Tatar singer, director and teacher Niyaz Dautov)." Tatarica 20, no. 2 (December 15, 2023): 169–78. http://dx.doi.org/10.26907/2311-2042-2023-21-2-169-178.
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Niyaz Kuramshevich Dautov (1913–1986) was a singer (lyric tenor), opera director, teacher, People’s Artist of the RSFSR (1957) and professor (1986). He was born in Kazan in 1913. In 1938, he graduated from the Tatar Opera Studio at the Moscow Conservatory. From 1939– 1943, he studied at the Moscow Conservatory. In 1953, he graduated from the Ural Conservatory. In 1943–1956 and 1960–1964, heworked as a soloist and director of the Sverdlovsk Opera and Ballet Theater. In 1965–1975, Dautov N. was the chief director of the Chelyabinsk Opera and Ballet Theater. In 1956–1960 and from 1975 to 1986, he worked as a soloist and the chief director of the Tatar Opera and Ballet Theater. In 1975–1986, he became the head of the Department of Opera Training at the Kazan Conservatory (since 1982 he was a professor).Niyaz Dautov was an Honored Artist of the RSFSR (1954), People’s Artist of the RSFSR (1957), Laureate of the TASSR G. Tukay State Prize (1958).
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Batista, Lorena Galery, and Maiara Knihs. "Livro de artista: tatear modos de fazer livro reparando memórias coletivas." Palíndromo 15, no. 37 (October 12, 2023): 1–24. http://dx.doi.org/10.5965/2175234615372023e0006.
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Este artigo tem por objetivo aproximar a feitura de livro de artista de práticas descoloniais. Para isso, contamos a história do nascimento do livro de artista ninharia e da editora bemvinda. A partir da transmissão dessa experiência, entendemos que tanto a escritura como o livro possuem uma herança colonial - a de quem pode escrever e publicar. Reivindicamos, no entanto, uma perspectiva ch’ixi, conforme elaborada pr Silvia Rivera Cusicanqui, como metodologia de abordagem do livro de artista. O ch’ixi é a cor cinza na tecelagem andina formado por listras brancas e pretas que não se misturam. Numa cultura fundada no princípio da mestiçagem como a nossa, afirmar o ch’ixi é afirmar a contradição e a constante presença da alteridade na identidade e nas formas hegemônicas. Nossa hipótese é a de que o livro de artista pode ser um objeto no qual as palavras e as formas de expressão atuem como práticas descoloniais. Nesse sentido, a publicação independente pode assumir uma posição política e ética, usando os termos de Antônio Bispo, na guerra das denominações, criando imagens, simbólicos, imaginários e desejos que confluam no cuidado da vida.
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Makarova, Guzel I. "Review of the album-catalogue: Vladimir Popov. Calligraphy. Author-compiler L.N. Donina (Kazan, 2019. 400 p.)." Historical Ethnology 8, no. 2 (October 24, 2023): 302–7. http://dx.doi.org/10.22378/he.2023-8-2.302-307.
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The article is devoted to the illustrated-annotated album-catalogue “Vladimir Popov. Calligraphy,” representing one of the stages of the work of the famous artist. Works by V.A. Popov's are found to be of ever-increasing relevance – in connection with Russia's new turn towards the ideas of Eurasianism, towards cooperation with the countries of the East, an important mediator of which is Tatarstan. The calligraphic works of the master are shown in the context of his life and creative path involved with with the history of the country and the region, the development of the Tatar national culture and the Arabographic art of the republic. This reflects the uniqueness of the author’s concept of L.N. Donina, expressed in a detailed display of the creative path and civic stance of the artist. The reviewer notes the depth of the publication author's search for the meaning of V.A. Popov’s turn to Islamic graphics. This stage of his biography is interpreted as a period of finding answers to important life questions that were posed and solved by the artist. In the wisdom of Islam, he finds those ideas that resonate with his own spiritual search and do not contradict the postulates of other world religions. He expresses them in his characteristic expressive manner, using a wide range of means of artistic expression developed by him in previous years. This gives the author a reason to characterise the master’s work of this period as a synthesis of Tatar and Russian cultures, traditions of East and West. The article concludes that the work under review is an independent research work in which L.N. Donina, in addition to the main art criticism, uses general scientific and historical approaches. Album-catalogue “Vladimir Popov. Calligraphy” is certainly a creative achievement of the author.
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Wachowski, Jacek. "Europejskie performanse Ive Tabara – od dyskursu politycznego do metanarracji." Slavia Occidentalis, no. 74/2 (December 10, 2018): 7–16. http://dx.doi.org/10.14746/so.2017.74.19.
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The article is an attempt to analyze the works of Ive Tabar – one of the most interesting Slovenian artists (relatively little known) working on the borderline of body art and performance art. On the one hand, Tabar’s works refer to loud experiments – undertaken on the basis of body art in 60’s, 70’s and 80’s. On the other hand, they are seeking their own language and new communication strategies with the viewers. Tabar’s works are both personal acts and political declarations (regarding the future of Slovenia). In this sense, they can be understood as a return to the concept (that had been developed in Europe and America in the second half of the twentieth century) of engaging art for public activity. Tabar uses this tradition in its own and unique way. He creates metanarratives works that combine the poetics of political and social protest with a radical body art-style experiment. He shows the way how art can contribute a political life.Key words: Slovenian performance, Ive Tabar, body art, performing arts.
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Sitti Rahmah, Yusnizar Yusnizar, and Tuti Rahayu. "Packaging Audio Visual Media in Tatak Tintoa Serser in Learning of Dairi Dance." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 23, 2019): 153–59. http://dx.doi.org/10.33258/biolae.v1i2.68.
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Tatak Tintoa Serser is one of the traditional dances of the Pakpak Dairi community which illustrates the mutual cooperation attitude in the lives of farmers in farming. Tatak is a term used to refer to dance to the Pakpak Dairi community. This study focuses on the preparation of instructional media in the form of VCDs from the Serser Tintoa Tatak which is closely related to the social understanding of the Dairi community. The objectives of this study are (1) Identifying the artistic structure of dance as outlined in the show (2) Arranging dance learning media in the form of VCD. This study uses a qualitative approach, by conducting interviews with informants (artists, art practitioners, community leaders, academics) because it deals with meaning and context, data collection and analysis that take place simultaneously. The program, with research subject Tatak Tintoa Serser, which is packaged in the form of Audio Visual, the research sample is Dance Education Study Program students who are used as models in making media. This research produces a VCD media product that contains the techniques of motion in the Tatak Tintoa Serser, terms in motion, and the meaning of dance that can be a source of learning in learning Dairi Dance. Product validation is carried out by media expert validation and material expert validation which shows the product's feasibility, and has been tested with Dance Education Study Program students in the Pakpak Dairi Dance course TA 2018/2019
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Wilmer, S. E. "The Spirit of Fluxus as a Nomadic Art Movement." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 88. http://dx.doi.org/10.7146/nts.v26i2.24312.
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Fluxus was the brain-child of a Lithuanian-born artist named George Maciunas whose family fled to Germany in the Second World War, where they eventually became displaced persons and later emigrated to the USA. Maciunas studied art and architecture in Pittsburgh and New York before working as an architect and graphic artist and founded the Fluxus movement at the beginning of the 1960s. During his student years, he became fascinated by nomadic art in Asia and Eastern Europe that would later influence his life’s work. This essay considers the relationship between his interest in nomadism and the nature of the Fluxus movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. It applies Braidotti’s notion of the nomadic subject to Maciunas’ encouragement of radical styles of performance art, such as Yoko Ono’s minimalist conceptual work and Joseph Beuys’s Tatar-influenced use of fat and felt.
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Zotkina, L. V., and R. V. Davydov. "Tools Used in Tagar Rock Art: Findings of an Experimental Traceological Study." Archaeology, Ethnology & Anthropology of Eurasia 50, no. 3 (October 5, 2022): 60–71. http://dx.doi.org/10.17746/1563-0110.2022.50.3.060-071.
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We describe the findings of traceological analysis and experiments with bronze and iron tools used by Tagar and Tes artists. The pecking traces these tools leave on the red Devonian sandstone were examined to assess which of them could have been used in rock art production. At the first stage, a preliminary analysis of Tagar petroglyphs was carried out, and metal tools and weapons from the Martyanov Museum of Local History in Minusinsk were examined. Morphologically suitable ones were selected, and experimental tools were made of stone, copper alloys, and low-carbon steel. Experiments were conducted and samples of pecking traces were produced. The final stage of the work consisted of comparing these samples with actual petroglyphs, and use-wear traces on the experimental tools with those on the actual tools. This approach made a direct comparison possible. Among the Tagar and Tes metal tools, those that had likely been used in rock art production were detected. The conclusion was made that no specialized tools designated for that purpose existed at that time in the Minusinsk Basin. Rather, multifunctional tools were used. These were made of tin bronze and low-carbon steel with thermal processing. Such tools first appeared in the region in the Early Iron Age.
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Nag, Dr Shashi, and Dr Manju Kumari. "Emerging Technologies and its Adoption: A Booster for Garment Development and Expansion in Tasar Silk Industry of Jharkhand with Special Reference to the Artisans and Weavers of Ranchi." International Journal for Research in Applied Science and Engineering Technology 11, no. 5 (May 31, 2023): 4759–61. http://dx.doi.org/10.22214/ijraset.2023.52705.
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Abstractt: The Tasar silk Industry has proved its potential in raising sustainable income and employment in the rural sector of Jharkhand State (India) and is a growing activity in the primary sector which aims more income to the artisans and workers of this industry. This paper entitles an artisanal industry that concentrates on the study regarding the impact of technologies on sericulture in selected area. Sericulture is an agro-industrial activity aiming to produce silk though rearing of silkworm. It involves the raising of food plants (Terminalia arjuna, Terminalia tomentosa, Shorea robusta etc) for silkworm, rearing of silkworm for production of cocoons, reeling and spinning of cocoons for production of yarn for value added benefits such as processing and weaving. The knowledge of technology has found to have greater impact on improving the productivity, production and manufacturing of Tasar Silk Fabric in terms of agriculture as well as its allied activities. This study finds out significant positive impact of knowledge about advanced technology and its adoption on the development of the sector by the artisans so that the Tasar Silk Garment Industry grows and benefit its stakeholders
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Kirimov, Tair Nuridinovich. "Peculiarities of artistic thinking of Mehmet Nuzhet." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2020): 51–59. http://dx.doi.org/10.25136/1339-3057.2020.3.32246.
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The goal of this work is determine the peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century Mehmet Nuzhet. The methodological and theoretical framework of this research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The artistic heritage of M. Nuzhet is diverse and unique. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the protagonists of the artist’s lyrical works are a direct reflection of his psychological state. This article pays special attention to the psychological type of the lyricist. Using comparative, textual analysis, the author examines the published and original handwritten texts by M. Nuzhet. The conclusion is made that the writer systematically worked on the study of the depth feelings, emotions and ways their expression. The application of traditional folk poetic forms, genres, images allows creating the new patterns of influence upon the audience. Conveying the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the life realities, he disguises an old poor man or a street drunkard. Poetic alliterations and assonances enliven these images. In the process of declamation of such poems, the audience is captivated by the text and uses various mimic emotions intended by the context.
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Kirimov, Tair Nuridinovich. "The specificities of artistic way of thinking of Mehmet Nuzhet." Litera, no. 1 (January 2020): 150–59. http://dx.doi.org/10.25136/2409-8698.2020.1.32230.
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The goal of this article consists in determination of peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century M. Nuzhet. Methodological and theoretical basis of the research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov, and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The creative heritage of M. Nuzhet is versatile and peculiar. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the central characters of the artist’s lyrical works directly reflect his psychological state. Special attention is given to the psychological type of the lyricist. Comparative and textual analysis allow viewing the published and original manuscripts of M. Nuzhet. It is established that the writer systematically worked on studying feelings, emotions and ways of their expression. Using the traditional folk poetic forms, genres and images, he creates new patterns for affecting the audience. Speaking of the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the everyday reality, the writer assumes the masks of an old beggar or street drunkard. The poetic alliterations and assonances enliven the poet’s images even more. In the process of declamation of such poems, the audience actively uses various mimic emotions anticipated by the context.
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Hadi, Aulia Saiful, Bimoseno Arkan Mandey Probosawitro, Filbert Nathaniel, Graciela Shelly, Ignatius Anggara Purba, Melda Anggie, Shanne Aldora Vicyanto, and Timothy Henry Putra Kosasih. "Pendampingan Peningkatan Manajemen Bisnis Make Up Artist (Mua) Yaitu Aquarel Makeup Di Kabupaten Kuningan Dalam Program Community Development 2023." Pengabdian Masyarakat Sumber Daya Unggul 1, no. 2 (June 30, 2023): 113–25. http://dx.doi.org/10.37985/pmsdu.v1i2.60.
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Manajemen Bisnis yang efektif dan efisien merupakan kunci keberhasilan suatu bisnis. Makeup Artist (MUA) atau Ahli Makeup merupakan sebuah profesi merias wajah untuk berbagai kepentingan acara. Popularitas profesi MUA semakin meningkat, namun tidak semua MUA memiliki pengetahuan dan keterampilan dalam manajemen bisnis untuk menjalankan kegiatan bisnisnya secara efektif. Penelitian ini bertujuan untuk melakukan analisis dan pendampingan dalam meningkatkan manajemen bisnis Aquarel Makeup yang berlokasi di Kabupaten Kuningan. Melalui penelitian ini, penulis berharap dapat memberikan panduan dan strategi yang sesuai untuk meningkatkan manajemen bisnis mereka dan mencapai tingkat keberhasilan yang tinggi. Program penyuluhan mengenai manajemen bisnis kepada mitra sudah berhasil dilakukan secara tatap muka dan hasil penelitian menunjukkan adanya peningkatan yang signifikan dalam soft skills dan hard skills mitra.
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Rubinstein, Sergei. "The principle of creative self-activity." Psihologìâ ì suspìlʹstvo 84, no. 2 (November 15, 2021): 97–101. http://dx.doi.org/10.35774/pis2021.02.097.
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The article reveals the main milestones of the 90-year life and scientific work of Petro Petrovich Kononenko - Doctor of Philology, Professor, prominent Ukrainian scholar, literary critic, writer and playwright, initiator of the Ukrainian National Lyceum, founder and director of the National Research Institute of Ukraine. The often mentioned village of Markivtsi, Bobrovytsia district, Chernihiv region, where P. Kononenko was born on May 31, 1931, is the cradle, the first sounds, the first words of the Ukrainian language, and the first knowledge of Ukraine in native people - all for the first time and all native. Milestones in life are graduating from high school in his native village, Faculty of Philology of Taras Shevchenko Kyiv State University, obtaining the degrees of candidate, doctor of philology, academic titles of associate professor and professor, work as head of the Department of History of Ukrainian Literature, dean of the Faculty of Philology. Research Institute of Ukrainian Studies. Researchers of his work M. Velychko and M. Slavynsky define the creative mission and works of PP Kononenko as follows: poet, prose writer, playwright, literary critic and literary critic, whose works have been translated into English, Bulgarian, Spanish, German, Polish, Croatian, Georgian. Tatar and other languages. Author of almost 1000 scientific publications and 50 monographs, including: “In Search of the Essence”, “Village in Ukrainian Literature”, “Ukrainian Literature: Problems of Development”, textbook for higher education institutions “Ukrainian Studies”, “Love Your Ukraine…”, “ Mykhailo Hrushevsky ”,“ The Phenomenon of the Ukrainian Language ”,“ Ukrainian Ethnos: Genesis and Perspectives ”,“ National Idea, Nation, Nationalism ”,“ We ??Have One Ukraine ”(books I, II, III) - co-authored with Taras Kononenko, “Ukrainian land and people in world civilization and culture” (books I, II), “Ukrainians in world civilization and culture. The historical phenomenon of Stepan Bandera “. The works of the recognized master of the word include the tragedy “Mary on Calvary”, selected “Voices in the Desert”, a collection of poems “Sunny Phoenix”. On the eve of P. Kononenko’s 90th birthday, his large-format four-volume memoir and reflections “One Hundred Years - One Hundred Roads… Ukraine and Ukrainian Studies: Origin - Executions - Resurrection” were published. In addressing the readers of the four-volume book, the content of which is reviewed in the article, P. Kononenko calls his work a reflection on Ukraine and the science of Ukrainian studies in intellectual, mental, experiential and mental perception, and thus interpretation, predictability and planning of the future. The personal perception of Ukraine by the author of the four-volume book, world Ukrainians, Ukrainian studies, the fate of Ukraine as the fate of everyone, its role and mission in intellectual-logical and emotional-emotional phenomenality, interdependence of historical and psychological perspectives, philosophical-ideological and psychological-cultural assessment and opportunities for human progress. Among the real characters of the four-volume book, the article reveals the psychology of “residents of profit and career, adapters”, who grew in the tragic circumstances of foreign colonization of Ukraine, the beginning in January 1972 in Kiev and other cities of Ukraine mass arrests of Ukrainian KGB poets, artists, students, to whom P. Kononenko is almost the first among other authors. The origin of the idea and foundation of the Institute of Ukrainian Studies, an example of which was created by Omelyan Prytsak for the preservation and development of Ukrainian cultural heritage “Institute of Ukrainian Studies” at Harvard University, “School Board” in the US and Canada, which manages schools of Ukrainian studies, development of the Center 1988 at the Faculty of Philology of the Taras Shevchenko University of Kyiv, and with it the Institute of Ukrainian Studies and its state status. The chronology of the transformation of this scientific institution into the Research Institute of Ukrainian Studies in the sphere of management of the Ministry of Education and Science and the transfer of the building at 18 Isaakyana Street in Kyiv for its placement are given. The reasons for counteracting the institutional development of Ukrainian studies in modern Ukraine, which still preserves the Soviet system of organization of communist-style science, further strengthened by its communist and post-communist functionaries, are analyzed. P. Kononenko’s reasoning that the phenomenon of synthesis of Ukrainian studies should be anthropology, and the generator of knowledge - the Institute of Man. The conclusions consider the achievements of the future, which include the causal conditionality of Ukrainian authenticity at each stage of the favorable historical development of the Ukrainian nation, determined by the functioning of statehood in the exercise of its protective function.
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Boltivets, Sergii. "The authenticity of Ukrainian studies in the scientific work of Petro Kononenko." Psihologìâ ì suspìlʹstvo 84, no. 2 (November 15, 2021): 78–96. http://dx.doi.org/10.35774/pis2021.02.078.
Full textAbstract:
The article reveals the main milestones of the 90-year life and scientific work of Petro Petrovich Kononenko - Doctor of Philology, Professor, prominent Ukrainian scholar, literary critic, writer and playwright, initiator of the Ukrainian National Lyceum, founder and director of the National Research Institute of Ukraine. The often mentioned village of Markivtsi, Bobrovytsia district, Chernihiv region, where P. Kononenko was born on May 31, 1931, is the cradle, the first sounds, the first words of the Ukrainian language, and the first knowledge of Ukraine in native people - all for the first time and all native. Milestones in life are graduating from high school in his native village, Faculty of Philology of Taras Shevchenko Kyiv State University, obtaining the degrees of candidate, doctor of philology, academic titles of associate professor and professor, work as head of the Department of History of Ukrainian Literature, dean of the Faculty of Philology. Research Institute of Ukrainian Studies. Researchers of his work M. Velychko and M. Slavynsky define the creative mission and works of PP Kononenko as follows: poet, prose writer, playwright, literary critic and literary critic, whose works have been translated into English, Bulgarian, Spanish, German, Polish, Croatian, Georgian. Tatar and other languages. Author of almost 1000 scientific publications and 50 monographs, including: “In Search of the Essence”, “Village in Ukrainian Literature”, “Ukrainian Literature: Problems of Development”, textbook for higher education institutions “Ukrainian Studies”, “Love Your Ukraine…”, “ Mykhailo Hrushevsky ”,“ The Phenomenon of the Ukrainian Language ”,“ Ukrainian Ethnos: Genesis and Perspectives ”,“ National Idea, Nation, Nationalism ”,“ We ??Have One Ukraine ”(books I, II, III) - co-authored with Taras Kononenko, “Ukrainian land and people in world civilization and culture” (books I, II), “Ukrainians in world civilization and culture. The historical phenomenon of Stepan Bandera “. The works of the recognized master of the word include the tragedy “Mary on Calvary”, selected “Voices in the Desert”, a collection of poems “Sunny Phoenix”. On the eve of P. Kononenko’s 90th birthday, his large-format four-volume memoir and reflections “One Hundred Years - One Hundred Roads… Ukraine and Ukrainian Studies: Origin - Executions - Resurrection” were published. In addressing the readers of the four-volume book, the content of which is reviewed in the article, P. Kononenko calls his work a reflection on Ukraine and the science of Ukrainian studies in intellectual, mental, experiential and mental perception, and thus interpretation, predictability and planning of the future. The personal perception of Ukraine by the author of the four-volume book, world Ukrainians, Ukrainian studies, the fate of Ukraine as the fate of everyone, its role and mission in intellectual-logical and emotional-emotional phenomenality, interdependence of historical and psychological perspectives, philosophical-ideological and psychological-cultural assessment and opportunities for human progress. Among the real characters of the four-volume book, the article reveals the psychology of “residents of profit and career, adapters”, who grew in the tragic circumstances of foreign colonization of Ukraine, the beginning in January 1972 in Kiev and other cities of Ukraine mass arrests of Ukrainian KGB poets, artists, students, to whom P. Kononenko is almost the first among other authors. The origin of the idea and foundation of the Institute of Ukrainian Studies, an example of which was created by Omelyan Prytsak for the preservation and development of Ukrainian cultural heritage “Institute of Ukrainian Studies” at Harvard University, “School Board” in the US and Canada, which manages schools of Ukrainian studies, development of the Center 1988 at the Faculty of Philology of the Taras Shevchenko University of Kyiv, and with it the Institute of Ukrainian Studies and its state status. The chronology of the transformation of this scientific institution into the Research Institute of Ukrainian Studies in the sphere of management of the Ministry of Education and Science and the transfer of the building at 18 Isaakyana Street in Kyiv for its placement are given. The reasons for counteracting the institutional development of Ukrainian studies in modern Ukraine, which still preserves the Soviet system of organization of communist-style science, further strengthened by its communist and post-communist functionaries, are analyzed. P. Kononenko’s reasoning that the phenomenon of synthesis of Ukrainian studies should be anthropology, and the generator of knowledge - the Institute of Man. The conclusions consider the achievements of the future, which include the causal conditionality of Ukrainian authenticity at each stage of the favorable historical development of the Ukrainian nation, determined by the functioning of statehood in the exercise of its protective function.
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Nechvaloda, Elena Evgenievna. "PEOPLES OF THE VOLGA-URAL REGION IN FEDOR SOLNTSEV’s CREATIVE HERITAGE." Yearbook of Finno-Ugric Studies 14, no. 4 (December 25, 2020): 720–32. http://dx.doi.org/10.35634/2224-9443-2020-14-4-720-732.
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This paper is devoted to studying the images of the peoples of the Volga-Ural region in the graphics created by Fedor G. Solntsev, famous Russian aquarelle artist of the 19th century, the author of many historical reconstructions and ethnographic drawings of folk costumes made in different provinces of the Russian Empire and among different social classes. His gallery of images also includes the peoples of the Volga-Ural region. These are the Udmurts, Mountain Maris, Erzya Mordvins, Middle Lower Chuvashs and Mishar Tatars. Many Solntsev’s watercolours that embody ethnographic characteristic types were drawn from nature. However, his images of the peoples of the Volga-Ural region are just the copies from other visual sources (pictures, gravures, photographs). As primary sources Solntsev used Emelyan Korneev’s gravures (to create the image of a "Votyak woman"), William Carrick’s photographs (as the basis for some images of "Kazan Tatars") and the picture of an unknown amateur artist dated back to the late 18th or early 19th centuries (to create the "Cheremis" compositions). It is not improbable that the use of other’s ready-made examples and not his own ethnographic drawings resulted in some inaccuracies both in the images of the peoples of the Volga-Ural region and their annotations. There are still no prototypes found for Solntsev’s images of Maris and Mordvins, but the absence of ethnic attribution in the annotations, inaccuracies in their geographical references, errors in depicting the details of the Mordvins’ garments and a disconnect between their poses and the angles characteristic of Solntsev’s ethnic types make it possible to suggest that the images of Maris and Mordvins in the sheets of the Penza and Tambov Provinces were also copied from ready-made pictures.
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Fluegel, Kathleen. "Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris. Tamar GarbPainting Women: Victorian Women Artists. Deborah CherryGender, Art and Death. Janet M. ToddAesthetics in Feminist Perspective. Hilde Hein , Carolyn KorsmeyerThe Compulsion to Create: A Psychoanalytic Study of Women Artists. Susan Kavaler-Adler." Signs: Journal of Women in Culture and Society 22, no. 2 (January 1997): 469–75. http://dx.doi.org/10.1086/495174.
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Jesus, Jessica Oliveira de. "A Máscara." Cadernos de Literatura em Tradução, no. 16 (May 10, 2016): 171–80. http://dx.doi.org/10.11606/issn.2359-5388.i16p171-180.
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Este artigo é a tradução do primeiro capítulo do livro “Plantation Memories: Episodes of Everyday Racism” (Memórias do Plantation: Episódios do Racismo Cotidiano) da escritora, teórica, psicóloga e artista interdisciplinar Grada Kilomba. O episódio aqui traduzido inicia-se com a descrição de um instrumento de tortura que pode ser tomado como símbolo das políticas de silenciamento do colonialismo: A máscara, que ao tapar a boca do sujeito Negro, impedia-o de falar. A partir da apresentação deste instrumento, a autora discute através de um prisma psicológico a construção da Negritude como alteridade e os motivos pelos quais a boca de escravizados(as) tinha que ser mantida fechada, além do que o sujeito branco seria obrigado a ouvir caso a boca do sujeito Negro não estivesse vedada. Apesar da língua materna da escritora ser português, seu livro foi escrito e lançado em inglês, mas ainda não foi traduzido integralmente para língua portuguesa, o que também nos diz muito sobre (tentativas de) silencimentos e a importância desta tradução.
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Muna, Afrida Arinal. "Ekspresi Keberagamaan Selebriti Hijrah: Sebuah bentuk ‘Accomodating Protest’ dan Ekonomi-Politik dari ‘Public Piety’." Jurnal Kajian Islam Interdisipliner 5, no. 1 (November 28, 2020): 1. http://dx.doi.org/10.14421/jkii.v5i1.1134.
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Semakin gencarnya wacana kampanye hijrah di era digital, termasuk di media sosial, sebagaimana dapat kita temukan di ‘detiknews’ bahwa tagar #hijrah di kotak pencarian instagram terdapat lebih dari 1,7 juta postingan, akun hijrah di facebook juga sudah diikuti lebih dari 300 ribu akun. Fenomena ini tidak bisa dinafikan juga dari kalangan artis, karena fenomena ini masif ditemui di kalangan kelas menengah ke atas yang berkesempatan mengonsumi isu-isu yang menjadi tren atau viral di media sosial. Tren aktivitas hijrah ini pun mempengaruhi sederet selebriti yang memutuskan untuk hijrah dengan proses yang berbeda-beda. Saya berasumsi bahwa selebriti yang melakukan hijrah sebenarnya tidak hanya ingin menunjukkan ekspresi keberagamaan barunya dengan menunjukkan kesalehannya terhadap publik, tetapi juga sebagai sebuah bentuk ‘accomodating protest‘ bahwa sebelum mereka memutuskan untuk hijrah ada sejenis bully-an yaitu munculnya stigma-stigma ketakutan menurunnya citra mereka di hadapan publik ketika seorang artis melakukan hijrah dengan style hijab barunya, tetapi justru ada semacam perlawanan yang ingin ditunjukkan oleh para selebriti kepada masyarakat bahwa mereka tetap bisa eksis walaupun memakai jilbab dan juga ada strategi politik ekonomi yang dimainkan oleh artis-artis hijrah tersebut dengan membuat inovasi-inovasi industri halal, tren hijab yang semakin down-to-earth, dan yang lainnya. Industri halal tersebut menjadi sasaran mereka karena tren tersebut menjadi tren konsumerisme yang masif oleh kelas menengah muslim milenial yang diyakini sebagai penggerak ekonomi abad-21.[The more vigorous discourse of hijrah campaigns in the digital era, including on social media, as we can find on ‘detiknews’ that the hashtag hijrah in the Instagram search box there are more than 1,7 million posts, the hijrah account on Facebook has also been followed by more than 300 thousand accounts. This phenomenon cannot be denied also by the artists, because this phenomenon is massive in the middle to upper class who have the opportunity to consume issues that are trending or viral on social media. The trend in hijrah activities also influenced a series of celebrities who decided to hijrah with different processes. I assume that celebrities who do hijrah actually not only want to show their new religious expression by showing their piety to the public but also as a form of ‘accomodating protest’ that before they decide to hijrah, there is a kind of bullying that is the emergence of stigmas of fear of a decline in their image in publicly when an artist hijrah with his new hijab style, but instead there is a kind of resistance that celebrities want to show to the public that they can still exist even though wearing the hijab and there is also an economic-political strategy played by this hijrah artist by making innovations halal industry is their target because the trends have become a massive consumerism trend by the millennial Muslim middle class which is believed to be an economic booster of the 21st century.]
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Weber Gomes de Almeida, Guilherme, and Alexander Meireles da Silva. "As Vilãs dos Irmãos Grimm." Revista do Sell 8, no. 2 (December 18, 2019): 333. http://dx.doi.org/10.18554/rs.v8i2.4032.
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Este trabalho apresenta o fragmento de uma pesquisa desenvolvida junto ao Programa de Pós-Graduação em Estudos da Linguagem, nível de doutorado, da Universidade Federal de Goiás, Regional Catalão, acerca de questões antissemitas em Literatura Fantástica, a partir dos contos e das lendas dos irmãos Grimm. No século XIX, os irmãos alemães Jacob e Wilhelm Grimm realizaram um amplo e complexo mapeamento cultural do folclore alemão, com ênfase nas narrativas de tradição oral popular. O resultado da pesquisa dos irmãos Grimm foi publicado em artigos, dicionários, enciclopédias e coletâneas das histórias maravilhosas, como Kinder- und Hausmärchen, em 1812, e a coletânea de lendas Deutsche Sagen, em 1816. No Brasil, o título da obra foi traduzido do alemão para o português como Contos Maravilhosos Infantis e Domésticos, mas é popularmente conhecida como os contos dos irmãos Grimm. Ressalta-se que os autores diferenciavam os contos e as lendas e nunca utilizaram a expressão "contos de fadas" para as peças coletadas. A partir de uma metodologia de revisão bibliográfica, este trabalho irá analisar um panorama geral da representação feminina como vilã nos contos mais conhecidos de Kinder- und Hausmärchen. A análise a seguir está fundamentada em teóricos literários importantes como Jack Zipes (2002), Maria Tatar (1987; 2004), Marina Warner (1999), Karin Volobuef (2011), entre outros.
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Muna, Afrida Arinal. "Religious Expression of Hijrah Celebrity: Accommodating Protest and Political Economy of Public Piety." Islam Realitas: Journal of Islamic & Social Studies 6, no. 1 (July 4, 2020): 76. http://dx.doi.org/10.30983/islam_realitas.v6i1.3154.
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<p>The <em>hijrah</em> campaign or massive movement that invites Muslims to become a better person by practicing religious teachings is more vigorously voiced in the digital era, including on social media, as we can find on ‘detiknews’ that the hastag #<em>hijrah</em> in the instagram search box more than 1,7 million posts. The <em>hijrah</em> account on facebook has also been followed by more than 300 thousand accounts. This phenomenon cannot be denied also by the artists, because this phenomenon is massive in the middle to upper class, who have the opportunity to consume issues trending or viral on social media. The trend in <em>hijrah</em> activities also influenced a series of celebrities who decided to <em>hijrah</em> with different processes. I assume that celebrities who do <em>hijrah</em> actually want not only to show their new religious expression by showing their peity to the public but also to be a form of ‘accomodating protest’ that before they decide to <em>hijrah</em>, there is a kind of bullying that is the emergence of stigmas of a fear of a decline in their image in public when an artist <em>hijrah</em> with his new hijab style, but instead there is a kind of resistance that celebrities want to come out to public that they can still exist in even though wearing the hijab. There is also an political economic strategy played by the artists by making some innovations such as halal industry. This is their target because the trends have been becoming a massive consumerism trend by the millenial Muslim middle class, which is believed to be economic booster of the 21<sup>st</sup> century.</p><p> </p><p><em>Kampanye hijrah atau gerakan massif yang mengajak kaum </em><em>M</em><em>uslim untuk menjadi pribadi yang lebih baik dengan menjalankan ajaran agama semakin gencar disuarakan di era digital. di era digital, termasuk di media sosial, sebagaimana dapat kita temukan di ‘detiknews’ bahwa tagar #hijrah di kotak pencarian instagram terdapat lebih dari 1,7 juta postingan, akun hijrah di facebook juga sudah diikuti lebih dari 300 ribu akun. Fenomena ini tidak bisa dinafikan juga dari kalangan artis, karena fenomena ini masif ditemui di kalangan kelas menengah ke atas yang berkesempatan mengonsumi isu-isu yang menjadi tren atau viral di media sosial. Tren aktivitas hijrah ini pun mempengaruhi sederet selebriti yang memutuskan untuk hijrah dengan proses yang berbeda-beda. Saya berasumsi bahwa selebriti yang melakukan hijrah sebenarnya tidak hanya ingin menunjukkan ekspresi keberagamaan barunya dengan menunjukkan kesalehannya terhadap publik, tetapi juga sebagai sebuah bentuk ‘accomodating protest‘ bahwa sebelum mereka memutuskan untuk hijrah ada sejenis bully-an yaitu munculnya stigma-stigma ketakutan menurunnya citra mereka di hadapan publik ketika seorang artis melakukan hijrah dengan style hijab barunya, tetapi justru ada semacam perlawanan yang ingin ditunjukkan oleh para selebriti kepada masyarakat bahwa mereka tetap bisa eksis walaupun memakai jilbab dan juga ada strategi politik ekonomi yang dimainkan oleh artis-artis hijrah tersebut dengan membuat inovasi-inovasi industri halal, tren hijab yang semakin down-to-earth, dan yang lainnya. Industri halal tersebut menjadi sasaran mereka karena tren tersebut menjadi tren konsumerisme yang masif oleh kelas menengah </em><em>M</em><em>uslim milenial yang diyakini sebagai penggerak ekonomi abad-21. </em></p>
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Chistyakov, R. V. "“BROTHER BUNNY“ OPERA FOR CHILDREN BY FATTAH: GENRE AND COMPOSITION FEATURES." Arts education and science 1, no. 2 (2020): 133–39. http://dx.doi.org/10.36871/hon.202002016.
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Azon Nurtynovich Fattah (1922–2013), an outstanding composer, pianist, Honored Artist of the Tatar Autonomous Soviet Socialist Republic, is known among professional musicians primarily for the charm of his songwriting. Yet his music is little known to modern audience. The peak of composer's popularity came in the 1960–70s, when his songs were performed, for example, by Joseph Kobzon and Lev Leshchenko, Maya Kristalinskaya, Gelena Velikanova and Elena Kamburova. Fattah's works include a significant number of chamber-instrumental compositions and plays for orchestras by Yu. V. Silantyev, B. P. Karamyshev, V. V. Meshcherin, several musical comedies, the most famous of which was “Winged” (on the libretto of the wonderful children's poet V. I. Viktorov). The composer also created three operas, among which — the children's opera “Brother Bunny”. The interest of the widest audience in Fattah music at that time was initiated by the composer's film works, namely, music for tapes for children and youth: “The Tale of the Boy-Kibalchish”, “Scuba Diving at the Bottom”, “Young from the Schooner Columbus”. The audience especially remembered the songs that became real hits: “There Was a Stormy Time”, “How Can We Live Without the Sea”, “Song of Cycling Tourists”. Thus, the children's theme occupies one of the central positions in the composer's heritage. It is important that “Brother Bunny” opera stands out among the composer’s opera works by genre type and performing composition and continues the line of Soviet music compositions for the youngest ones, begun by Sergei Prokofiev. “Brother Bunny” is not only an opera for children (figuratively and subjectively accessible to the younger audience of listeners), it is intended for execution by children themselves, which determines the features of its structure, the composition of the participants and some characteristic features of the musical language. This article is an attempt to analyze this opus from the perspective of style guidelines and musical language in the context of Russian music traditions.
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Laksono, Marten Agung, and Asril Asril. "TARI ASYEIK NITI MAHLIGAI DALAM KARYA RELIEF LOGAM." Gorga : Jurnal Seni Rupa 11, no. 2 (December 21, 2022): 464. http://dx.doi.org/10.24114/gr.v11i2.39069.
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The primary steps of the asyeik niti mahligai ritual are where relief works are produced. Asyeik Niti Mahligai is performed on stage as a test by Bilian Saleh to reach the pinnacle of mysticism. The asyeik niti mahligai dance is being introduced to the public, especially the people of Kerinci, through the creation of this relief. Particularly important is the comprehension of the variations in the asyeik niti mahligai dance that is discussed in the work. The artist's version of the Asyeik Niti Mahligai dance captures the spirit of the dance that Bilian Saleh did during the traditional procession. The second is created so that it can serve as a resource for other artists, for example, in the production of art that requires the shape of regional customs. Exploration, design, and embodiment were the strategies employed in the creation of this piece. The engraving and pressing process is employed. This two-dimensional piece uses metal reliefs to depict the procession of Bilian Saleh during the asyeik niti mahligai ceremony. Using the right-to-left reading technique, the reliefs are back in two pieces. Asyeik niti mahligai's creator relief ritual serves as a means of conserving local culture and making it accessible to future generations through artistic creations.Keywords: dance, asyeik, niti, mahligai, relief. AbstrakPenciptaan karya relief logam bersumber dari tahapan inti dalam ritual asyeik niti mahligai. Tahapan inti tersebut ialah tari asyeik niti mahligai sebagai ujian yang ditempuh bilian saleh sebagai puncak tertingi ilmu kebatinan. Tujuan penciptaan karya relief ini adalah memperkenalkan kepada masyarakat khususnya masyarakat Kerinci tentang tari asyeik niti mahligai, terutama pemahaman tentang perbedaan tari asyeik niti mahligai yang diangkat dalam karya. Tari yang angkat oleh pengkarya yaitu esensi tari asyeik niti mahligai yang dilaksanakan oleh bilian saleh pada prosesi ritual. Kedua yang diciptakan agar dapat menjadi acuan seniman lainya khususnya pada penciptaan seni rupa yang mengambil bentuk dari tradisi lokal. Metode yang digunakan dalam penciptaan karya ini ialah melalui tahapan eksplorasi, perancangan dan perwujudan. Teknik yang digunakan yaitu teknik ukir tatah dan tekan. Karya yang dihasilkan merupakan karya dua dimensi menguraikan prosesi pengangkatan bilian saleh dalam ritual asyeik niti mahligai dalam bentuk relief logam. Relief berjumlah dua karya dengan teknik membaca dari kanan ke kiri. Penciptaan relief ritual asyeik niti mahligai sebagai salah satu cara terhadap pelestarian budaya lokal agar dapat dikenal sampai generasi selanjutnya dalam bentuk karya seni rupa.Kata kunci: tari, asyeik, niti, mahligai, relief. Authors:Marten Agung Laksono : Institut Seni Indonesia Padangpanjang Asril : Institut Seni Indonesia Padangpanjang References:Beardsley, M. (1958). Aesthetics Problem In The Philosophy Of Criticism. United states Of America: Harcourt Brace & World.Damono, S. D. (2018). Alih Wahana. Jakarta: PT Gramedia Pustaka.Gustami, S. (2007). Butir-Butir Mutiara Estetika Timur: Ide Dasar Penciptaan Seni Kriya Indonesia. Yogyakarta: Parisista.Helmiati, H., Misgiya, M., Atmojo, W. T., & Silaban, B. (2020). Eksperimen Pewarnaan Batik dengan Bahan Alami Buah Naga (Hylocereus Undatus). Gorga: Jurnal Seni Rupa, 9(1), 22-26.Daniati, N., Sastra, A. I., & Dharsono, D. (2018). Perempuan Kerinci sebagai Ide dalam Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 7(2), 129-133.Nopia, R., Akmal, A., & Munaf, Y. (2018). KuloukKerinci dalam Karya Mahkota Putai. Gorga: Jurnal Seni Rupa, 7(2), 123-128.Putra, Eva Bramanti. (2022), “Sejarah Prosesi Ritual Asyeik Niti Mahlagi”. Hasil Wawancara Pribadi: 12 Januari 2022, Kerinci.
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Yurchuk, O., O. Chaplinska, and L. Bashmanivska. ""KLAVKA", "YURA", "LARA" BY MARYNA HRYMYCH: FAMILY TRILOGY." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(102) (April 26, 2024): 62–71. http://dx.doi.org/10.35433/philology.1(102).2024.62-71.
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The article explores the peculiarity of literary interpretation of the Soviet past in the family trilogy by Maryna Hrymych. The author navigates through time, from post-war Kyiv to the late 1980s. Hrymych creates a unique three-dimensional reflection (the story of three generations) intertwining it with her own experiences and personal reckonings with the past. Attentive to details at the level of toponims (Kyiv, taiga, Crimea, Chernobyl) and everyday life, the author shifts the focus from the collective to the individual stuff stripping the past of monumentality and infusing it with intimacy. Her protagonists attempt to adapt to life in a totalitarian state (Klavka and Yura) or reclaim lost national identity (Lara). In the novel "Klavka," the author delves into the literary scene of 1940s post-war Kyiv focusing on the character of Klavka, the secretary of the Writers' Union of Ukraine. Klavka finds herself at the center of the events of 1947 including the Plenum where the names of Ukrainian writers Maxim Rylskyi and Yurii Yanovskyi were denounced. Hrymych intertwines the stories of artists (the Writers' Union, the ROLIT house, Irpin dachas) with the story of a young woman seeking her place in the world. The next novel, "Yura," is set in 1968, a pivotal time for the Soviet totalitarian state (Khrushchev Thaw gives way to the repressions of the 1970s). Klavka and the following generation of the youth are depicted as adherents of the Soviet world, conformists who adapt to and feel secure as well as fully-fledged in the reality around them. The trilogy concludes with the novel "Lara," unfolding in four locations: the taiga in the northern Tomsk region (1986), Kyiv and Crimea (1987) and Chernobyl (1988). Hrymych intertwines the stories of two nations – Ukrainians and Crimean Tatars – forced to share not only one territory but also a fate in the totalitarian Russian world. While the older generation (Klavka and her son Yura) may settle for culinary reconciliation (Uzbek plov and chebureks), the third generation (Lara) finds conformity in decisions and the substitution of concepts unacceptable. The main heroine not only reflects on history (both general and individual one) but also demands self-definition ("Not Lara – Diliara").
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Jaffe, Shoshana Adler, Kendal Jacobson, Joseph Rodman, Cindy Blair, Debra MacKenzie, Mallery Quetawki, Tamar Ginossar, et al. "Abstract B134: The art of science: Painting a new image of genomic research in the indigenous communities of the Southwest." Cancer Epidemiology, Biomarkers & Prevention 32, no. 12_Supplement (December 1, 2023): B134. http://dx.doi.org/10.1158/1538-7755.disp23-b134.
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Abstract Introduction: The Patient Engagement-Cancer Genome Sequencing Research Center (PE-CGS; NCI U2C CA252973) based at the University of New Mexico Comprehensive Cancer Center (UNMCCC) with partners at Mayo Clinic Comprehensive Cancer Center, the Translational Genomics Research Institute, and the Black Hills for American Indian Health Research Center are developing culturally appropriate strategies and methods to address the underrepresentation of American Indians (AIs) in genomic research. Our efforts are directed towards the implementation of tailored cancer prevention, diagnosis, and treatment strategies that reduce cancer health disparities in Tribal communities. Methods: The PE-CGS Center has three units, each tasked with specific research components to engage AI participants in participatory, clinically-meaningful genomic research: 1) the Participant Engagement Unit; 2) the Genomics Characterization Unit; and 3) the Engagement Optimization Unit (EOU). The Center also has a Tribal Advisory Committee, composed of Tribal Governors, Presidents, and tribal health advocates and experts, who provide direction on all research matters. The PE-CGS EOU uses iterative rapid-cycle research techniques to optimize engagement and shares these strategies with other units for timely implementation. To date, the EOU has developed and implemented three key efforts. First, to aid in recruiting participants for the study, the EOU tailored a series (6) of participant-facing informational materials that include artwork from a local AI artist who combined her traditional and scientific knowledge to prepare complementary imagery. Second, the EOU is currently implementing a series of semi-structured discussions to document participant perceptions on criteria including engagement, communication, and education. Lastly, the EOU implemented a survey among UNMCCC providers on their return of results processes. Results: EOU discussions are ongoing and have provided important perspectives on participant satisfaction and areas for improvement. Participants have commended study staff on their efforts to make enrollment straightforward. Participants report discussing the study with family prior to enrolling, highlighting the importance of continuing to engage with the entire community on the goals of the study. The provider return of results survey is complete (n=42/62, response rate=68%); one key finding was that providers who return somatic test results rarely provide participants with a hard copy of the results or utilize complementary materials that might enhance their explanation of the test findings. Conclusion: The EOU serves an innovative function through its rapid-cycle methods to optimize participant engagement. Although participants are generally pleased with their study participation, there are numerous opportunities for improvement. The informational materials represent a novel contribution to the field of genomic research. Efforts will continue to implement optimized processes for effective engagement of AI communities in genomic research and cancer care delivery. Citation Format: Shoshana Adler Jaffe, Kendal Jacobson, Joseph Rodman, Cindy Blair, Debra MacKenzie, Mallery Quetawki, Tamar Ginossar, V. Shane Pankratz, Andrew Sussman, Ursa Brown-Glabermen, Jeffrey Trent, Cheryl Willman, Shiraz I. Mishra. The art of science: Painting a new image of genomic research in the indigenous communities of the Southwest [abstract]. In: Proceedings of the 16th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2023 Sep 29-Oct 2;Orlando, FL. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2023;32(12 Suppl):Abstract nr B134.
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Mustafayev, Femiy. "Creative activity of Crimean Tatar composers of the XX century: musical and ethnological dimensions." National Academy of Managerial Staff of Culture and Arts Herald, no. 1 (April 20, 2021). http://dx.doi.org/10.32461/2226-3209.1.2021.229586.
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Purpose of Research. The purpose of the research is to analyze the creative activity of Crimean Tatar composers of the XX century: A. Refatov, J. Sherfedinov, I. Bakhshish. Methodology. The research methodology is based on the use of historical and musicological, comparative, chronological, systematic methods, which have allowed to show the creative components of the composers. Scientific Novelty. The scientific novelties are the attempts to comprehensively highlight and study various aspects of the activities of artists as musicians, composers, conductors, teachers, ethnographers, public figures; to supplement, clarify and systematize the biographical data of artists; to study and highlight their significant achievements; to determine the contribution of composers to the development of Crimean Tatar music. Conclusions. The activities of A. Refatov, J. Sherfedinov, I. Bakhshish are the foundations for the formation of Crimean Tatar professional classical music. They worked in various genres such as opera, overture, suite, symphony, music for performances, chamber and instrumental, vocal and choral music, etc. Their activities are based on the national and cultural traditions of the Crimean Tatars. The musicians paid special attention to collecting, studying, processing and publishing folk songs. An important component of the artists' activities were theoretical works on the history and theory of folk music. Creative achievements, teaching activities, active musical and public position contributed to the revival as well as to the dynamic development of the Crimean Tatar musical culture.
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Bekirov, Usein. "Jazz in the Works of Composers of Crimeа." Collection of scientific works “Notes on Art Criticism” 36 (December 31, 2019). http://dx.doi.org/10.32461/2226-2180.0.2019.281213.
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Purpose of Article is to analyze the creative achievements of Crimean composers who turned to the musical direction «jazz» and contributed to the formation and development of ethnojazz in the music of the Crimean composers. Methodology. The analytical method was used in the article, which allowed to choose the works of jazz in the creative works of several artists. Owing to the method of comparative analysis, it was possible to compare the features of the work of different composers in this direction, the generalization of the studied problem allowed to formulate the conclusions of the analysis. Scientific novelty. For the first time, a particular aspect of the work of Crimean composers― jazz works ― is analyzed in scientific research. The characteristic feature of jazz works of most Crimean artists is emphasized ― their creation on the verge of tradition and innovation with using rich and original national folklore (ethnojazz). Conclusions. The interest in the Crimean Tatar folklore that has appeared in Crimean composers, including composers of Crimean Tatar origin, has not only disappeared in recent decades but has gained momentum, especially in the work of young composers. It can be said that today there is a whole galaxy of young and incredibly talented composers (E. Izmailov, D. Karikov, E. Saryhalal, U. Bekirov, M. Shorenkov) who, in their works, turn to jazz treatments of the musical folklore of the Crimean Tatars, from one on the other, reviving these folk traditions but in a different form, and on the other, enriching them with modern academic music. In this case, it is logical to conclude that the jazz trend in the works of Crimean composers was and remains very popular and is experiencing a period of its heyday.
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Kolosok, Vadym. "Analysis of Characteristic Features of Modern Ukrainian Pop Hits on the example of Works that Won International Eurovision Song Contest in 2004, 2016, 2022." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 31, 2022). http://dx.doi.org/10.32461/2226-3209.3.2022.266114.
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The purpose of the work. The article is devoted to the analysis of three winning songs of the Eurovision Song Contest in 2004, 2016, and 2022 (“Wild Dances”, “1944”, and “Stefania”), performed by singers Ruslana, Jamala, and the “Kalush Orchestra” band. To carry out the study, a list of the characteristic features and peculiarities features of modern Ukrainian and world pop hits identified by domestic scientists has been systematised. The research methodology consists in using the principles of analysis of musical compositions and general scientific methods of systematisation and generalisation of the obtained results. The scientific novelty of the work lies in the fact that for the first time the “Stefania” song was thoroughly researched, which appeared relatively recently and received the highest scores during the international “Eurovision 2022” contest. Conclusions. Ukrainian scholars investigating the problems of pop song creativity (in particular, V. Tormakhova, M. Mozgovyi, T. Riabukha) have sufficiently developed conceptual approaches that allow in-depth analysis of samples of modern world and domestic “hits”. In fact, the author has found in the analysed works all of the characteristic features and peculiarities of modern Ukrainian pop songs identified by researchers. The clearly expressed national basis of all the researched Eurovision winning works (Ukrainian in the songs “Wild Dances” and “Stephania” and Crimean Tatar in the song “1944”) draws attention, which indicates the growing interest in the cultures of the indigenous peoples of our country in the world and their inclusion in global artistic processes. Confident victories of Ukrainian performers at the international Eurovision contest in 2004, 2016 and 2022 are certainly an indicator of the successful development of Ukrainian pop and song art.
Key words: Eurovision, Ukrainian pop artists, hit aesthetics, stylistic synthesis, folklore authenticity, “Wild Dances”, “1944”, “Stephania”.
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Chorna, Nataliia. "INTANGIBLE CULTURAL HERITAGE AS A TOURIST RESOURCE." Market Infrastructure, no. 59 (2021). http://dx.doi.org/10.32843/infrastruct59-5.
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Despite a complex and often tragic history, the Ukrainian people have inherited from previous generations a powerful array of cultural heritage sites, much of which has survived to the present day. Represented by a tangible and intangible component, cultural heritage in society fulfills the ambitious tasks of forming civic consciousness, a sense of national dignity, patriotism and pride in the glorious historical past. In addition, it is able to successfully implement such tasks as the formation of the tourist image of the territories, by attracting the attention of tourists to increase the demand for recreation in the region and thus solve a number of socio-economic problems of the latter. Unlike tangible cultural heritage, the objects of which are mostly known to the general public, elements of intangible cultural heritage are often unknown not only to foreign tourists but also to citizens of the state. In this regard, given the uniqueness of many elements of the intangible cultural heritage of Ukraine, as well as their ability to become a powerful tourist resource, it is obvious the need for greater promotion, the formation of a stable interest in them. Undoubtedly, the inclusion of elements of intangible cultural heritage in the National List and the UNESCO Representative List, as well as holding various thematic festivals, master classes with folk artists, organizing exhibitions of their works, creating and disseminating advertising and information products on the subject. Currently, the National List of Elements of Intangible Cultural Heritage has 26 items, Petrykivka Decorative Painting as a phenomenon of Ukrainian ornamental folk art, Cossack Songs of Dnipropetrovsk Region and the Tradition of Kosovo Painted Ceramics are included in the UNESCO analogue. The Crimean Tatar ornament ornek and the culture of Ukrainian borscht are waiting to be included in the UNESCO List. Being a valuable tourist resource, intangible cultural heritage is able to develop the tourist potential of the territory and form the competitive advantages of the tourist product in the world and national tourist market.
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GABDRAFIKOVA, L. "THE PROFESSIONAL DEVELOPMENT OF TATAR ARTIST BAKI URMANCHE IN THE 1910S-1920S." Historical and cultural heritage of the peoples of the Ural-Volga region 13, no. 1 (July 30, 2023). http://dx.doi.org/10.15350/26191490.2023.1.5.
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Palo, Annbritt, and Anna Nordenstam. "An Artist and a Writer: YA Literature by Anna Höglund." Children's Literature in Education, September 24, 2021. http://dx.doi.org/10.1007/s10583-021-09465-6.
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AbstractThis article highlights the interpictorality in two YA books by the Swedish writer and illustrator Anna Höglund, Om detta talar man endast med kaniner [This Is Something You Only Talk About with Rabbits] (2013) and Att vara jag [To Be Me] (2015). The analysis of the visual intertextuality between pieces of artwork by Peter Tillberg, Frida Kahlo, Lena Cronqvist, Richard Bergh and René Magritte and five pictures from Höglund’s books thematises school, body and identity. The discursive positioning in the artworks and in Höglund’s pictures directs the readers in their decoding of Höglund’s text, offers possibilities in their interpretations and challenges the adolescent readers to make connections across different formats, such as text and image, and between different images.