Gotowa bibliografia na temat „Uzbek Small art works”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Uzbek Small art works”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Uzbek Small art works"
1
Nasimov, Khilal. "FILM ADAPTATION OF WORKS OF ART IN THE ART OF CINEMA". CROSSROADS OF CULTURE 4, nr 2 (30.04.2020): 31–35. http://dx.doi.org/10.26739/2181-0737-2020-4-6.
Pełny tekst źródłaStreszczenie:
The screening allowed the film to "stand up and stand up". This article is about the screening experiments and their value in the cinema world, about the modern interpretation of literary works in modern Uzbek cinema
2
Mirzokhidova, Nozima Ulugbek kizi. "THE SIGNIFICANCE OF THEATER ART IN THE EXAMINATION OF SHAKESPEARE'S WORKS IN UZBEKISTAN". Frontline Social Sciences and History Journal 4, nr 5 (1.05.2024): 69–74. http://dx.doi.org/10.37547/social-fsshj-04-05-09.
Pełny tekst źródłaStreszczenie:
In terms of aesthetics, the Uzbek translators were able to translate the works of the English writer into the Uzbek language. In 1941, the Uzbek State Drama Theater (now the Uzbek National Academic Drama Theater) in Tashkent presented the performance "Othello" by our esteemed artists A. Hidoyatov (Othello), L. Nazrullaev (Iago), and S. Eshonto'raeva (Desdemona) (translation by G. Gulom, 1940 y.). In 1939-1949, he performed in the play "Hamlet" by O. Khojaev (Hamlet) (translation by A. Cholpon, 1934) and in 1958, he played the role of "Brutus" in the play "Julius Caesar" (translation by Uygun, 1958). Additionally, he performed in other stage works. The scenes that these artists performed were such a sensation at the time that, in a certain sense, the interest of the Uzbek people in Shakespeare's work increased significantly.
3
Lafasov, Urak Pazilovich. "Genius of Uzbek Art". European Journal of Learning on History and Social Sciences 1, nr 2 (31.05.2023): 99–104. http://dx.doi.org/10.61796/ejlhss.v1i2.176.
Pełny tekst źródłaStreszczenie:
This article ("The Genius of Uzbek Art") provides information about the rich literary heritage of nations on Earth, the novel, which is considered a subgenre in literature, and six national schools of novel writing (English, French, German, Indian, Arabic, Russian, and Uzbek). It was also said that until the 20th century, the fields of language and literature were studied separately in scientific researches in the world, and this situation caused serious damage to the art of text. In order to eliminate this defect in science, the field of linguopoetics was formed, and linguopoetics studies the issue of creating an aesthetic effect of stylistically colored linguistic units in the artistic text. It is also explained that the main goal of the field of linguopoetics is to describe the artistic expression and aesthetic effect of stylistically colored lexical units in the text, and it is explained that linguopoetics works with artistic texts that are considered national spiritual wealth.
In order to achieve this status, the artist must be able to feel the spirit of his nation, to be well aware of the folk art, to have a deep knowledge of the vocabulary of his mother tongue, to be able to understand and use the means of artistic representation at a high level, and only then the scope of expression of the national language and the level of incomparable image is emphasized. As a basis, the sound doubling, sound exchange, morphological forms, vocabulary units (synonyms, antonyms, pure Uzbek words, dialectal words, phraseology) used in the novel "Mehrobdan Chayan" by the great Uzbek writer Abdulla Qadiri, artistic arts (irony, simile, exaggeration, saj), lygvopoetic tools such as proverbs, portraits, replica-repetition were analyzed.
4
Rakhimov, Khasanboy Umarjon Ugli. "The Ingress Of World Artistic Experience In The Fine Arts Of The 1970s-1980s". American Journal of Social Science and Education Innovations 03, nr 02 (28.02.2021): 198–202. http://dx.doi.org/10.37547/tajssei/volume03issue02-32.
Pełny tekst źródłaStreszczenie:
The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.
5
Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM". Scientific Reports of Bukhara State University 5, nr 5 (30.12.2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.
Pełny tekst źródłaStreszczenie:
Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
6
Shirinova, Raima. "THE ISSUE OF LANGUAGE FACTORS IN RECONSTRUCTION OF THE NATIONAL LANGUAGE OF THE WORLD". CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, nr 11 (1.11.2021): 64–71. http://dx.doi.org/10.37547/philological-crjps-02-11-16.
Pełny tekst źródłaStreszczenie:
In world translation studies, scientific research aimed at getting acquainted with the culture, history, customs, traditions and national values of peoples on the basis of works of art, as well as the study of universal and differential situations in cultures is of great importance. In the last decade, the translation of works of art from Uzbek into French has been accompanied by the inadequate presentation of realities, phraseological units, paremies in the translated language, the omission of realities or their expression through Russian transliterations. Here, in the minds of any reader, Uzbek thinking, worldview and Uzbek mentality can lead to imperfect images. In order to solve these problems, research is being conducted on the current work, including training and conducting research to determine the quality. The need to discuss such critical issues on a comprehensive scientific basis determines the relevance of this research topic.
7
Norova, Nasiba, Shokhsanam Davronova, Shoira Axmedova i Marhabo Xudoyqulova. "About some of Osman Kochqor’s translations In Uzar literature". E3S Web of Conferences 538 (2024): 05018. http://dx.doi.org/10.1051/e3sconf/202453805018.
Pełny tekst źródłaStreszczenie:
Translation works have a special place and influence in Usman Kochkar’s work. The combination of idea and art, meaning and image in the poet’s poetry is directly related to his translation. His translation skills are especially evident in the examples of Azerbaijani literature that he translated. The translator translated the works of Sayyid Imamuddin Nasimi, Husayn Javid, Yunus Samad, Sabir Rustamkhan, Yunus Oguz, Husayn Kurdogli, Hidayat, Anor, Elchin, etc. from Ozar into Uzbek. The artist later made translations from Russian, English, and Japanese. As a translator, choosing the best works, the Uzbek reader made a worthy contribution to the expansion of the reading space. The article examines the translation skills of Usman Kochkar and the influence of translated works on the poet’s work.
8
Б. Т., Мирзаева,. "HODI ZARIFOV’S EARLY SCIENTIFIC ACTIVITY". SCIENTIFIC REVIEW OF SAYANO-ALTAI, nr 2(34) (26.10.2022): 21–24. http://dx.doi.org/10.52782/kril.2022.2.34.005.
Pełny tekst źródłaStreszczenie:
В статье анализируется научная деятельность основателя узбекской фольклористики, заслуженного деятеля науки Республики Узбекистан, доктора филологических наук, профессора Ходи Тиллаевича Зарифова. С его именем и трудами связана вся работа по собиранию и изучению узбекского народного творчества, в особенности узбекского народного героического эпоса, самое существование которого явилось большим открытием советской эпохи и прежде всего узбекских фольклористов. Им опубликовано более 150 научных работ по теоретическим проблемам узбекского фольклора. Ходи Зарифов основал школу узбекской фольклористики, где целенаправленно исследуют искусство бахши, творчество и репертуар народных поэтов, школы сказителей, дастаны, жанры фольклора, текстологию. The article analyzes the scientific activity of the founder of Uzbek folklore studies, Honored Scientist of the Republic of Uzbekistan, Doctor of Philology, Professor Hodi Tillayevich Zarifov. His name and works are associated with all the work on collecting and studying Uzbek folk art, especially the Uzbek folk heroic epic, the very existence of which was a great discovery of the Soviet era and, above all, Uzbek folklorists. He published more than 150 scientific papers on theoretical problems of Uzbek folklore. Hodi Zarifov founded the School of Uzbek Folklore Studies, where the art of bakhshi, creativity and repertoire of folk poets, schools of storytellers, dastans, genres of folklore, textual studies are purposefully researched.
9
Karimov, Bahodir. "Uzbek jadid prose and Abdulla Qadiri". Uzbekistan: language and culture 4, nr 2 (10.06.2022): 61–71. http://dx.doi.org/10.52773/tsuull.uzlc.2022.4.2/xycj9537.
Pełny tekst źródłaStreszczenie:
This article deals with the prose works, which are important part of Jadid literature. The ideological features of some prose works both small and large are examined. In particular, some aspects of Abdulla Qadiri's work are evaluated in the context of modern literature. Jadid writers, espe-cially in the prose works written in the first phase of the same movement, there is an ideological and artistic synchronization and harmony. The scale of modern Uzbek literature, the prose of Abdulla Qadiri is a magnificent place of sophistication and at the same time a wake-up call for everyone.
10
HAMIDOV, KHАYRULLA. "Two translations of one story". Sharqshunoslik. Востоковедение. Oriental Studies 03, nr 03 (1.10.2022): 22–30. http://dx.doi.org/10.37547/os/vol-01issue-03-03.
Pełny tekst źródłaStreszczenie:
Thanks to literary translation since the 90s of the last century, Uzbek national literature has been enriched with masterpieces of world literature, and samples of Uzbek literature have been translated into other languages and managed to find their readers in many countries of the world. In particular, over the past thirty еars, interest in Uzbek literature has increased in Turkey. In a short time, dozens of masterpieces of Uzbek literature were translated into foreign languages, including the fraternal Turkish language, and presented to lovers of our literature. The bonds of friendship and brotherhood between the Uzbek and Turkish peoples, whose language, history and culture are very close to each other, have been further strengthened thanks to literary translation. The treasury of Turkish literature is replenished with the most famous works of famous Uzbek writers. In particular, among the works of the famous Uzbek writer A. Kadyri "Bygone Days", "Scorpion from the Altar", Abek "Navoi", stories by Abdulla Kahkhar were translated into Turkish and published. This in itself provided great material for the science of translation studies. The issues of critical review of literary translations, evaluation of their artistic level and quality, and the study of translation skills were put on the agenda. This article discusses the problems in Turkish translations of a story by Abdullah Kahhar, seeks a partial solution to the problems that have arisen in practice. In particular, the advantages of translating between two related languages have their own difficulties, the problems associated with "false equivalents" remain in translation, despite the fact that the Uzbek and Turkish languages belong to the same language family, it is emphasized that this requires the translator to be especially careful when translation of works of art.
Rozprawy doktorskie na temat "Uzbek Small art works"
1
Clark, W. Andrew, Cher L. Cornett i Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool". Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
Pełny tekst źródłaStreszczenie:
Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
Książki na temat "Uzbek Small art works"
1
Bossan, Enrico. Uzbekistan/routes: Contemporary artists from Uzbekistan. [Crocetta del Montello]: Antiga edizioni, 2016.
Znajdź pełny tekst źródła
2
Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
Znajdź pełny tekst źródła
3
Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
Znajdź pełny tekst źródła
4
Ghana, FCA, red. Small works, big city. [Accra]: FCA Ghana, 2005.
Znajdź pełny tekst źródła
5
Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
Znajdź pełny tekst źródła
6
Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
Znajdź pełny tekst źródła
7
Gallery, Sligo Art. Íontas: Eigth small works art exhibition. Sligo: Sligo Art Gallery, 1997.
Znajdź pełny tekst źródła
8
Romanow, Joanna Kleinberg. Small. New York: Drawing Center, 2014.
Znajdź pełny tekst źródła
9
Íontas, (8th 1997 Sligo Ireland). Íontas eighth small works art exhibition, 1997. [Sligo]: Sligo Art Gallery, 1997.
Znajdź pełny tekst źródła
10
Íontas (7th 1996 Sligo, Ireland). Íontas seventh small works art exhibition 1996. [Sligo]: Sligo Art Gallery, 1996.
Znajdź pełny tekst źródłaCzęści książek na temat "Uzbek Small art works"
1
Mehl, Margaret. "11. The World in Sendai". W Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
Pełny tekst źródłaStreszczenie:
Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
2
Philbrick, Ethan. "Introduction". W Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
Pełny tekst źródłaStreszczenie:
In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
3
Harold, James. "Wicked Artists". W Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
Pełny tekst źródłaStreszczenie:
This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
4
"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." W No Small Matter, redaktor Anat Helman, 283–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0025.
Pełny tekst źródłaStreszczenie:
This chapter reflects on Batya Brutin's Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank (2020). This volume documents the engagement of artistic creativity with the photographs of the boy with raised hands in the Warsaw ghetto (1943) and those of Anne Frank. In the six chapters detailing the various ways in which artists from different cultures and countries integrated these iconic figures into their oeuvre, Brutin acquaints the reader with dozens of artists who, at some point in their artistic development, opted to “express their thoughts, emotions and perceptions of the Holocaust.” These artists' works touch on various themes elaborated upon by Brutin: the fate of Jewish children in the Holocaust; personal identification with the iconic figures; their use to represent Jewish identity and universal human situations; their uniqueness; their imaginative connection with the state of Israel; and their “facelessness,” “disappearance,” and “disintegration.” Thus, the photographs have been used for decades by artists to perform a function in their art.
5
De Zorzi, Giovanni. "La musica d'arte (maqom) tra Herat, Bukhara e Kashgar". W Eurasiatica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-340-3/011.
Pełny tekst źródłaStreszczenie:
Central Asian Art music (maqom) transcends nowadays national borders and belongs to a larger musical area where Art music was (and still is) called maqām. After a discussion on the many meanings of such a term and on the theoretical works of the so called first Arab-Islamic musicology, the present paper moves to the key figure of systematist musicologist and composer ‘Abd ul-Qādir ibn Ghaybi Marāghī (1360?-1435), who lived part of his life in Herat: from there, through disciples and sons his work, he influenced maqām concept and practice both in the West, in the Ottoman lands, and in the East. In particular, from the 16th century, a musical tradition called Shash Maqom – which arrived to Uyghur’s six town oasis (altıshahr), where the musical tradition called On Ikki Muqam grew – flourished in the Uzbek/Tajik region once called by Greeks Transoxiana, between the cultural centres of Bukhara and Samarkand.
6
Lipps, Jere H., Ajit Vartak, Ton Van Eijden, C. Rajshekhar, Sudha Vaddadi i Rohit Vartak. "Paleontological postage stamps in art and education". W The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).
Pełny tekst źródłaStreszczenie:
ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most of the stamps were scientifically accurate at the time they were issued though some artists took artistic liberties to fashion unique stamps. Overall, the stamps are artistic and educational because their small sizes and low cost make them easily accessible for classroom activities, exhibits, and presentations. They cover topics such as biodiversity, geology, ecology, oceanography, and evolution, among others. Paleophilately has provided art, education, joy, and happiness to people worldwide.
7
Cleempoel, Koenraad Van. "Representations of astrolabes in Western art". W Astrolabes At Greenwich, 99–112. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198530695.003.0009.
Pełny tekst źródłaStreszczenie:
Abstract The relatively infrequent depiction of astrolabes in works of art seems disproportionately small in relation to the large amount of instruments that have survived and to the high number of contemporary treatises that discuss the astrolabe. In comparison, its three-dimensional counterparts – the armillary sphere, and the celestial and the terrestrial globe – have experienced wider acclaim from artists throughout the ages. The immediate ornamental and didactic appeal of these other instruments may be responsible for this trend. But also, in a broader sense, the image of the globe and the armillary sphere became a popular visual metaphor for disciplines such as geometry and astronomy, where they are still used until the present day.
8
Rodowick, D. N. "The Force of Small Gestures". W Indefinite Visions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0012.
Pełny tekst źródłaStreszczenie:
In The Logic of Sensation, Gilles Deleuze describes sensation as a domain that lies beneath, over, or inside quotidian vision as if in another dimension of intensive qualitative experience masked by habitual perception. Sensation is also a way of grasping the immanence of philosophy to works of art. The logic of sensation is part and parcel of our world as lived; one might say that sensation is immanent to perceptual experience as force is immanent to matter. In Deleuze’s account of sensation, the plastic arts are less concerned with matter and figuration than they are with force and becoming. Perhaps the problem for both painting and cinema is how to see time and force differently, and to release the figural force of sensation in the image. The chapter continues by investigating the logic of sensation in recent experimental video, primarily Ernie Gehr’s Glider (2001), but also two of the author’s own recent artworks, Waterloo and Plato’s Phaedrus. The chapter concludes with an account of Henri Bergson’s lecture on philosophical intuition to argue that there is a continuous dynamic line that runs between intuition and philosophy, Image and Concept
9
Fabrizi, Elisabetta. "From Exodus to Small Axe : Steve McQueen’s Filmic World of Two Halves". W ReFocus: The Films of Steve McQueen, 17–29. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399510936.003.0002.
Pełny tekst źródłaStreszczenie:
Traces how McQueen cemented his position in the art world early in his career and forged a springboard from which he could experiment with feature filmmaking. Analyses how creating the conditions for viewers to become aware of their own presence is at the core of McQueen’s oeuvre, in both his feature films and his gallery works.
10
Tilmouth, Michael, David Kimbell i Roger Savage. "Frederick Septimus Kelly Serenade For Flute And Small Orchestra, Op. 7". W The Classics of Music, 124–25. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0015.
Pełny tekst źródłaStreszczenie:
Abstract Commander F. S. Kelly, DSC, RNVR, left but a small collection of compositions to represent him as a musician.1 Those who have known him, and watched the steady irresistible growth of his mastery of life, will always be convinced that music, which was his central means of expression, was an art in which he was sure to achieve something unique and complete. The two works produced on this occasion can do no more than indicate the beginnings of what was, in process of expression, restrained only because it was all comprehending. With him there was a time for everything. His duty towards music did not distract him from his duty towards life, nor did life distract him from music.
Streszczenia konferencji na temat "Uzbek Small art works"
1
Musulmanova, Nargiza. "PROBLEMS OF WORK ANALYSIS IN TEACHING THE SCIENCE OF UZBEK LITERATURE IN THE RUSSIAN SPEAKING GROUPS OF THE DIRECTION OF PHILOLOGY". W TEACHING UZBEK LANGUAGE ABROAD: THEORY AND PRACTICE OF EDUCATION. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.2024.16.4/vxar3769.
Pełny tekst źródłaStreszczenie:
Analysis of works of art is extremely important when teaching Uzbek literature in Russian-speaking groups of the philological direction. Because in the formation of oral and written speech of students, the analysis of works, in particular, pragmatic and linguistic analysis, is of great help, while the sociopragmatic study of certain works of art shows the attitude of students to each work read.
2
O‘razboyev, Abdulla. "NAMES OF MILITARY OPERATIONS AND PARTS IN OGAHI'S HISTORICAL WORKS". W THE PLACE OF THE ANCESTORS IN THE DEVELOPMENT OF WORLD MILITARY WORK AND MILITARY ART: AS AN EXAMPLE OF LITERARY AND HISTORICAL SOURCES. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.2024.4.5/gahg6928.
Pełny tekst źródłaStreszczenie:
In this article, military operations and terms in Oghiy's historical sources are linguistically analyzed based on primary sources. The materials and facts presented contribute to the enhancement of our understanding of Uzbek historical military terminology.
3
Davronov, Azimjon. "TEACHING THE UZBEKI LANGUAGE THROUGH ARTISTIC FILMS AND ARTISTIC LITERATURE". W TEACHING UZBEK LANGUAGE ABROAD: THEORY AND PRACTICE OF EDUCATION. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.2024.16.4/dtwn8094.
Pełny tekst źródła
4
Husanov, Nishonboy. "Representation of military revolutions in Sulaiman Bukhari's work "Dictionary of Chigatai and Turki Osmani"". W THE PLACE OF THE ANCESTORS IN THE DEVELOPMENT OF WORLD MILITARY WORK AND MILITARY ART: AS AN EXAMPLE OF LITERARY AND HISTORICAL SOURCES. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.2024.4.5/sbtb2959.
Pełny tekst źródłaStreszczenie:
The old Uzbek-Turkish dictionary of Suleiman Bukhari, which appeared in the late 19th century, contains about 100 words related to military work and military art, used in the works of representatives of the classic Uzbek literary language. In the process of clarifying their meaning, the compiler of the dictionary chose a way to interpret the units that are difficult for the Turkish reader to understand using different methods. As a result, the Turkish reader had the opportunity to become familiar with the colorful vocabulary of the old Uzbek language, such as the system of military terms.
5
Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde i Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation". W ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
Pełny tekst źródłaStreszczenie:
After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
6
Некрасова-Каратеева, О. Л., i Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV". W Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
Pełny tekst źródłaStreszczenie:
В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
7
Marquis, Fabien. "Inductors and Coils New Production Solutions using Additive Manufacturing such as EBM 3D Printing and Precision Casting—A Presentation of the Current State-of-the-Art Technologies". W HT 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.ht2017p0236.
Pełny tekst źródłaStreszczenie:
Abstract In induction heating process, coils and inductors are the core of the heating process. They are the end tool where the magnetic process affecting the part or material to be heated occurs. For more than a century, the dominant manufacturing process has been based, mainly, upon joining technologies where the coppersmith skill has been the safeguard of the quality. Use of fixtures, mandrels, and machined parts have improved the repeatability and quality of the produced elements but high volume, dimensional repeatability has always been source of problems. GH Induction continuously works on the improvement of such relatively artisanal methods to allow better lifetime, minimized production time and overall better quality. Following a first development work bringing a patented innovation in 2011 using a precision casting solution (Microfusion – Wax casting), with a solution provided a single piece coil, GH Induction has, after 2 years of development, patented a new additive manufacturing solution (3D printing concept) based on the use of Electron Beam Melting (EBM). The EBM solution benefits from the latest technology in additive manufacturing, both technologies present tremendous advantages for the designer and user. Complex shape, very small inductors can be manufactured, which are impossible to do with standard method. This presentation and article summarized the concept, manufacturing principle and technical benefits that the final users can have using such innovative solutions.
8
Mortensen Steagall, Marcos, i Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.
Pełny tekst źródłaStreszczenie:
The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.
9
Zhao, Xin, Liufang Sang, Guiguang Ding, Yuchen Guo i Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning". W Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/441.
Pełny tekst źródłaStreszczenie:
Pedestrian attributes recognition is to predict attribute labels of pedestrian from surveillance images, which is a very challenging task for computer vision due to poor imaging quality and small training dataset. It is observed that semantic pedestrian attributes to be recognised tend to show semantic or visual spatial correlation. Attributes can be grouped by the correlation while previous works mostly ignore this phenomenon. Inspired by Recurrent Neural Network (RNN)'s super capability of learning context correlations, this paper proposes an end-to-end Grouping Recurrent Learning (GRL) model that takes advantage of the intra-group mutual exclusion and inter-group correlation to improve the performance of pedestrian attribute recognition. Our GRL method starts with the detection of precise body region via Body Region Proposal followed by feature extraction from detected regions. These features, along with the semantic groups, are fed into RNN for recurrent grouping attribute recognition, where intra group correlations can be learned. Extensive empirical evidence shows that our GRL model achieves state-of-the-art results, based on pedestrian attribute datasets, i.e. standard PETA and RAP datasets.
10
Li, Haoming, Xinzhuo Lin, Yang Zhou, Xiang Li, Yuchi Huo, Jiming Chen i Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint". W Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/117.
Pełny tekst źródłaStreszczenie:
3D grasp synthesis generates grasping poses given an input object. Existing works tackle the problem by learning a direct mapping from objects to the distributions of grasping poses. However, because the physical contact is sensitive to small changes in pose, the high-nonlinear mapping between 3D object representation to valid poses is considerably non-smooth, leading to poor generation efficiency and restricted generality. To tackle the challenge, we introduce an intermediate variable for grasp contact areas to constrain the grasp generation; in other words, we factorize the mapping into two sequential stages by assuming that grasping poses are fully constrained given contact maps: 1) we first learn contact map distributions to generate the potential contact maps for grasps; 2) then learn a mapping from the contact maps to the grasping poses. Further, we propose a penetration-aware optimization with the generated contacts as a consistency constraint for grasp refinement. Extensive validations on two public datasets show that our method outperforms state-of-the-art methods regarding grasp generation on various metrics.