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Статті в журналах з теми "Creation (Literary, artistic, etc.)":
1
GHILAȘ, Ana. "Intermediate ways of creating theatricality in artistic discourse." Arta 31, no. 2 (January 2023): 67–71. http://dx.doi.org/10.52603/arta.2022.31-2.09.
Анотація:
Th e article addresses the issue of theatricality, especially the way of creating this cultural phenomenon in the dramaturgical text and in the narrative artistic text. Theatricality understood as a cultural and aesthetic aspect is combined in some types of speeches with theatricality in life, especially in prose. If in the dramaturgical text its structure (dialogue — stage directions) constitutes a first element of theatricality, then the theatrical techniques from the show (ad spectatores, the monologue, the actor’s corporeality, etc.) are elements that can also be found in the narrative literary text in the form of authoriality, of various forms of psychology, etc. In this context, an important role in the creation of theatricality is played by intermediality as the interaction of codes specific to certain artistic or non-artistic discourses. We investigate the relationship between theatricality and intermediality from a theoretical and methodological point of view, with some examples from artistic texts or performances.
2
Starostina, Svetlana A. "Modern writing blogs in the literary, scientific, and educational space." Neophilology, no. 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
Анотація:
We consider the phenomenon of network literature as an integral part of the modern literary process. We analyze such a phenomenon as a “writing blog” for its compliance with the basic requirements of the neterature: hypertextuality, interactivity, multimedia, informality and pro-cessuality of the text, as well as its semantic content. We conduct a study of the author’s blogs of D. Glukhovsky, E. Vodolazkin, E. Grishkovets, on the one hand, as methods of creating an artistic work, on the other, as ways of promoting the personality and creativity of the writer. Meanwhile, we identify not only the author’s peculiarities of blogging and communication of writers with the readership, but also the individual approaches of particular artistic individuals to the creation and popularization of their works (collective texts writing, combining an artistic work with multimedia content, etc.). We consider the issue of studying online literature in secondary educational institu-tions, and also develop ways to solve it. In particular, we propose an introduction to the educational process of research project work on topical issues of neterature, modern interactive teaching methods, as well as communication of schoolchildren with modern network writers in the format of forums and blogs.
3
A, Boomi Selvam. "Modern Tamil Creation Registered A. Madhavan’s Ilakkiya Chuvadukal." International Research Journal of Tamil 4, S-7 (July 29, 2022): 182–89. http://dx.doi.org/10.34256/irjt22s728.
Анотація:
In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. Critical trends that are part of modern art-literature texts are universally creating multifaceted openings for intellectual dialogues in everyday life. Today, its ramifications have crossed the western horizons of the world and have begun to settle in Indo-Tamil regions as well. In particular, when it comes to modern art-literary trends, the novel, short story, poem, drama, review, etc., and finally the 'review' section, which is placed in the last place, has become literature in the public space and a kind of art in the private space and is receiving unique attention. In this way, while all the other artistic-literary activities are traveling with only single functions as their characteristics, only this form of review 'perspective' has many characteristics in itself and determines the metabolism of other artistic-literary forms. As such, it deserves special attention among modern Tamil authors and in creative studies. Although the beginnings of criticism in Tamil literature date back to the period of the textualists, it gained momentum only in the early twentieth century. In particular, the marriage Selvakesavaraya Mudaliar is the starting point of modern Tamil literature. However, while he only did original review work, some of his successors have been doing review work as well as creative work. A. Madhavan deserves to be mentioned in this series.
4
Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
Анотація:
The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
5
Corcinschi, Nina. "Critica și eseul basarabean din 2020." Limba, literatura, folclor, no. 2, 2021 (December 2021): 63–66. http://dx.doi.org/10.52505/llf.2021.2.05.
Анотація:
Year 2020 was favorable for the critical and essayistic spirit in the Republic of Moldova. The books written in this section offer an overview of current critical thinking, of the most modern perspectives on literature approaching. The concept “arheul marginii”, by Andrei Țurcanu, offers an artistic and sociological grid for evaluating the relationship of the literary margin with the centre, i.e. of Romanian literature on both banks of the Prut, in a social, political and cultural context. The books of Emilian Galaicu Păun and Adrian Ciubotaru address current cultural phenomena (an anthropological vision of death, disease, suffering, etc.), important authors in Romanian and universal literature. Alexandru Burlacu analyses the 60th and 70th creation generations in Bessarabia, Dumitru Apetri – the phenomenon of translations, etc. All together they confirm a viable Bessarabian meta-literary process, connected to the latest Romanian and European literary challenges.
6
Kovalenko, Timofey V., Peter A. Kulichkin, Lidia A. Mazhul, and Vladimir M. Petrov. "Intensity of Creative Innovations: Construing Samples to Measure Artistic Evolution." Key Engineering Materials 437 (May 2010): 525–29. http://dx.doi.org/10.4028/www.scientific.net/kem.437.525.
Анотація:
To compile samples (sets of poets, composers, painters, etc.) characterizing the development of different fields of creative activity, it is necessary to overcome two methodical difficulties. First, it is needed to choose due source (e.g., literary or musical encyclopedia) containing the raw data for further studies. Second, the task of averaging these data arises, because usually these data are described by so-called ‘stable non-Gaussian distributions.’ Nevertheless, both problems were solved, and evolutionary curves were built, for some national schools of art (creativity of 5982 composers belonging to 40 national schools, 2741 theatrical persons representing 9 national schools, etc.).
7
Hurbаnskа, Svitlаnа O. "PECULIARITIES OF PRECEDENT NAMES FUNCTIONING IN POSTMODERN ARTISTIC DISCOURSE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 14(82) (August 29, 2022): 26–30. http://dx.doi.org/10.25264/2519-2558-2022-14(82)-26-30.
Анотація:
This article examines intertextuality of artistic texts of postmodern discourse in the aspect of linguosemiotic research; defines intertextuality as a text category that occupies one of the central places among other text categories; summarizes and systematizes the functioning of precedent names in postmodern artistic texts; considers postmodern artistic discourse as a special semantic focus of intertextual connections on the example of precedent names; highlights that intertextuality changes the idea of artistic texts as homogeneous structures, suggesting their consideration as heterogeneous formations. Recently, in linguistic science, general tendencies in the study of artistic texts as an intertextual phenomenon are observed. However, the lack of postmodern artistic discourse research in intertextual context by and large is noticed. Artistic texts of postmodern literature reflect the text-creating tendencies of postmodern creativity, the change of ideological system, the restructuring of values hierarchy, the creation of hybrid artistic forms, the production of new writing ways, and the manifestation of topical issues. Postmodern artistic texts are characterized by the presence of a large number of expressive precedent names. Introduction to the structure of artistic texts names, surnames, nicknames of prominent historical figures, biblical and mythological characters, writers of previous eras, heroes of their works, etc., that are emphasized with deep authorial intentions and meanings, defines literary characters’ destinies in a certain way, and affects the development of artistic text plot lines in general. The category of intertextuality creates a fragmented text in postmodernism fiction. Postmodern artistic text is a complete cognitive and conceptual, communicative and semiotic unity It is a heterogeneous structure marked by intertextual connections and lines with other texts. Therefore, it becomes possible to correlate cultural signs with background knowledge and with the specificity of linguistic consciousness, as well as create a special semiotic space.
8
Korniienko, Oksana. "MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE." Polish Studies of Kyiv, no. 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
Анотація:
Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.
9
Rogacheva, Natalia A., and Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
Анотація:
The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
10
Borodina, N. A., O. A. Selemeneva, and N. A. Trubitsina. "Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects." Nauchnyi dialog, no. 10 (October 29, 2021): 28–47. http://dx.doi.org/10.24224/2227-1295-2021-10-28-47.
Анотація:
The results of the analysis of semantic groups of mythonyms of the poetic heritage of I. A. Bunin as means of explication of various historical-informational and cultural-symbolic worldview meanings are presented in the article. The relevance of the work is due to the interest of literary onomastics in identifying units of the onomastic code of artistic and aesthetic systems of various domestic and foreign writers. The novelty of the work is associated with the inclusion of lexical units with different ratios of the nominated image and denotation into the Bunin mythonymicon, with the synthesis of linguistic and literary-cultural approaches in characterizing each of the selected lexical units. The twelve described semantic groups of mythological names are organized in the form of a field with a core and peripheral parts. For each group, the features of contextual use are noted. The authors come to the conclusion that in the Bunin picture of the world, mythonyms of various semantics perform text-forming and meaning-forming functions. They not only represent archetypal images (Fire, Bottom, Feminine, Garden, etc.), axiological oppositions (light — darkness, good — evil, etc.), key ideas, themes and motives (the idea of being still, themes of love, death, motives of temptation, resurrection, dreams, etc.), historiosophical concepts (moral choice and fortitude), but also participate in the creation of an individual author’s myth.
Дисертації з теми "Creation (Literary, artistic, etc.)":
1
Kehoe, Peggy. "Self discovery and personal creation /." Online version of thesis, 1991. http://hdl.handle.net/1850/11073.
2
Witt, Susanna. "Creating creation readings of Pasternak's Doktor Živago /." Doctoral thesis, Stockholm : Almqvist och Wiksell International, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46340409.html.
3
Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
4
Green, Charles. "Thief in the attic : artistic collaborations and modified identities in international art after 1968 /." Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.
5
Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
Анотація:
The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
6
Cseh, Genevieve. "Flow in visual creativity." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225306.
Анотація:
Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.
7
Saxton, Linda K. "Computer imagery and creative energy /." Online version of thesis, 1987. http://hdl.handle.net/1850/10309.
8
Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
Анотація:
The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
9
Wedel, Valerie A. "The undoing of the self an artistic exploration /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5004.
Анотація:
Thesis (M.F.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Vita. Includes bibliographical references.
10
Hall, Wendy E. "Ceramic handbuilt vessels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725080.
Анотація:
The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.Department of Art
Книги з теми "Creation (Literary, artistic, etc.)":
1
Witt, Susanna. Creating creation: Readings of Pasternak's Doktor Živago. Stockholm: Almqvist och Wiksell International, 2000.
2
1903-, Ghiselin Brewster, ed. The Creative process: A symposium. Berkeley: University of California Press, 1985.
3
Maisel, Eric. Creativity for life: Practical advice on the artist's personality and career from America's foremost creativity coach. Novato, Calif: New World Library, 2007.
4
Bissell, Tom. Magic hours: Essays on creators and creation. San Francisco: Believer Books, 2012.
5
Cameron, Julia. The artist's way morning pages journal: A companion volume to the artist's way. New York: Putnam, 1995.
6
Hamilton, James. Life and art: The creative synthesis in literature. London: Karnac, 2009.
7
Kenzo, Mabiala Justin-Robert. Dialectic of sedimentation and innovation: Paul Ricœur on creativity after the subject. New York: Peter Lang, 2009.
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(Organization), GLOBArt. Auf-bruch: GlobArt Academy 2013. Wien: Ambra, 2014.
9
1922-, Barron Frank X., Montuori Alfonso, and Barron Anthea, eds. Creators on creating: Awakening and cultivating the imaginative mind. New York: Putnam, 1997.
10
Zeder, Suzan. Spaces of creation: The creative process of playwriting. Portsmouth, NH: Heinemann, 2005.
Частини книг з теми "Creation (Literary, artistic, etc.)":
1
Qian, Xiao, Wen Jieruo, and Xu Jun. "Translation as an artistic (re-)creation is boundless." In Dialogues on the Theory and Practice of Literary Translation, 51–60. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: China perspectives | Translation of: Wen xue fan yi de li lun yu shi jian: fan yi dui hua lu.: Routledge, 2019. http://dx.doi.org/10.4324/9780429287848-5.
2
de Matos, Cláudia Neiva. "Popular song and literary scholarship: Interactions between criticism and artistic creation." In Contemporary Popular Music Studies, 51–59. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_5.
3
Dirschauer, Marlene. "‘The Obscure Body of the Sea’: Female Bodies, Water and Artistic Creation from The Voyage Out to The Waves." In Geocriticism and Spatial Literary Studies, 133–72. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-13421-0_5.
4
Zhuravleva, Anastasia A. "The Chekhov case: The world of Russian estate in the chronotope of the “large city”." In Estate real — estate literary: vectors of creative transformation, 53–65. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-53-65.
Анотація:
The article attempts to identify and describe one of the methods of the artistic embodiment of the Chekhov chronotope of the “large city” (according to the definition of I.N. Sukhikh), which replaced the “estate” and wider — epic, patriarchal-village chronotope of the Russian classics. Such a technique in Chekhov’s poetics is the introduction of common memories of heroes into the structure of works, rethinking their traditional functions and highlighting, sharpening the meaning of their characteristics such as cultural and psychological community. The commonality of memories is understood as the coincidence, identity, separability of the picture of the past by all participants of communication both at the level of factual events and at the level of value attitude to the subject of memory. Using the example of the writer’s works that differ in time of creation and genres, it is shown how the commonality of the heroes’ memories that arises or, conversely, does not arise becomes a marker of a psychological contact that has taken place or has not taken place, a sign of the changed structure of the world, the core of which for Chekhov, unlike I.S. Turgenev, L.N. Tolstoy, etc. classical writers, is the “large city” with its psychological heterogeneity and open-mindedness. The estate is depicted by Chekhov through the prism of a new dominant chronotope: the “estate chronotope” is replaced by the chronotope of the “large city”.
5
Semak, Ludmila. "THE LINGUISTIC AND STYLISTIC ASPECT OF THE LEXICAL SYNONYMICS (ON THE MATERIAL OF MODERN UKRAINIAN FEMALE PROSE)." In Factors of cross- and intercultural communication in the higher educational process of Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-051-3-7.
Анотація:
This paper is the first complex research of lexical synonyms as components of the artistic discourse of modern Ukrainian female prose introduced into the field of semantic, linguistic and stylistic analysis. The scientific novelty of the paper is that for the first time in linguistic and Ukrainian studies the lexical synonymy in modern Ukrainian female prose is comprehensively explored, as a result of which the semantic, linguistic and stylistic features of synonyms are clarified. The study proves that in the analyzed works lexical synonyms, which express the idiolects of modern Ukrainian female prose writers and constitute a set of expressive and imaging marking means of their language creation, represent a number of semantic, linguistic-stylistic, categories. Which allows interpreting them not only in the functional-semantic context but also within linguostylistics. Modern Ukrainian female prose in Ukrainian literature is the latest holistic socio-cultural phenomenon is represented by the works of such authors as Emma Andiievska, Sophiia Andrukhovych, Nina Bichui, Liuko Dashvar, Oksana Zabuzhko, Kateryna Kalytko, Irena Karpa, Yevhenii Kononenko, Maria Matios and others. In the paper it is proved that word convergences appear in the literary text because of the special purpose, the purpose set by the authors, therefore they become striking representatives of idiolects of separate masters of prose. In the paper a detailed analysis of lexical synonyms is carried out, which in the artistic discourse of modern Ukrainian female prose perform a number of basic and additional functions, among which are: functions of differentiation, substitution, aesthetics, synonymic opposition, etc. Using lexical synonyms in different contexts, prose female writers always carefully weigh the semantic nuances of each word, thus achieving the expressiveness, sophistication and high aesthetic value of their literature.
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Sinenko, Oksana. "THE TOPIC OF WAR IN WESTERN EUROPEAN MUSIC ART OF THE XX–XXI CENTURIES." In Modernization of research area: national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-28.
Анотація:
Wars are destructive events that, despite their destructive nature, occur with a certain frequency in the history of human existence. The course of wars, their nature and causes are different, but the impact of military events on human consciousness is inevitable. The problem of the destructive nature of war, its ability to integrate and differentiate human communities often received not only scientific coverage, but also became the subject of works of art. Art is a sphere of human life that flexibly responds to all events that occur in the socio-cultural space. There are many literary, pictorial, theatrical, cinematic works that reflect military events. Examples of military coverage can be found in the musical art of the XX–XXI century. Works related to the theme of war and peace, the balance between these phenomena, are available in both foreign and Ukrainian music culture. The purpose of the paper is to highlight the specifics of musical works on military themes and to determine the dominant features that are inherent in them. This task is urgent, given the significant transformation of modern life of the Ukrainian people and the need to define the role of musical art in society. Highlighting the features of musical works will determine their role in the context of culture. Methodology of the study is based on general research methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematize achievements in the study of military topics in the art of music. The logic of the study involves determining the range of works on the theme of war, highlighting their essential features, conducting a comparative analysis of works written by Western European artists and outlining further prospects for work in this direction. Results. Composers, turning in their works to military themes, often seek to make their compositions understandable to the public. After all, their works acquire the role of a kind of artistic manifestos, the result of their own subjective experiences of military events, or to reflect on them as observers. Trying to make them as accessible as possible to the audience helps to choose the principle of programmability when it comes to instrumental opuses. Composers give their works bright names that allow drawing an analogy with military events, adding poetic epigraphs and more. If composers turn to vocal and instrumental works, they choose those verbal texts that reproduce the desired artistic and figurative content. Most often, artists choose genres such as requiem, crying, oratorio. Composer’s reflection often includes reliance on texts of the Ordinary, Catholic Mass, etc., which are stable carriers of meaning, have their own symbolic value and are understandable due to their circulation in music culture to the general public. Practical implications. The study of works related to military themes provides an opportunity to understand the power of art, as well as to determine its role in society. The works of Western European composers of the XX century M. Ravel, C. Debussy became a reaction to the events of the First World War. The works of A. Schoenberg, A. Onegger, B. Britten, and K. Penderetsky were initiated at the beginning of the Second World War. Nowadays, the 21st century is a time of wars, which are a powerful emotional shock for people in general and composers in particular, who are trying to capture this traumatic experience in an artistic form. However, they see their mission not only in recreating events in an artistic form, but also in creating a kind of warning for posterity about the inability to move through wars that bring only pain and suffering, causing the death of human beings. Value/originality. Composers’ artistic manifestos are a direct reaction to the changing world, shocks that confuse people, even if they were not directly involved. A promising area for further research is to highlight the specifics of works by Ukrainian composers related to military issues.
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Calvo Martinez, Jose Luis, and Natalia N. Arsentieva. "The philosophy of solitude (Beatus ille theme) in the “estate” poetry of Europe: Horace, Fray Luis de León, I.A. Bunin." In Estate real — estate literary: vectors of creative transformation, 230–48. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-230-248.
Анотація:
The article examines the themes of withdrawal from the world (Beatus ille) and the solitary contemplation of nature in the “estate” poetry and prose of I.A. Bunin, a Russian writer of the late 19th to the mid-20th century and traces the sources of his inspiration to the thought of philosophers and writers of classic antiquity (Horace, etc.) and to the Renaissance (Luis de León, etc.). The transition from Neoclassicism and the cult of the arts to the Neoplatonic philosophy of nature in Russian Literature, which took place from the end of the 18th century through the early 19th century, led to the rebirth of an aesthetics based on immediate impressions of reality. The “estate culture” from that period, with its linking of culture and nature, allowed Russian authors to convey complex thoughts and feelings rising from their cultivation of solitude and the contemplation of nature. In Bunin’s legacy, the aesthetic value of the Russian estate is largely due to its proximity to the world of wild uncultured nature. An innovative feature of the Bunin poetic landscape is the fusion of man with the holy universe in light of the cosmological ideas of the Renaissance and the doctrine of the World Soul. A comparative analysis of the ode “The Life Removed” by Luis de Leon, a representative of the Golden Age of Spanish Renaissance poetry, and the motif of solitude in Bunin’s creative work reveal a common metaphysics. Moreover, our research also focuses on the mystery motif of the “liturgy of light” in both authors, which can be traced to the magical practice of communion with God in the hermetic tradition of late Hellenism. Finally, we analyze Bunin’s interpretation of the artist’s separation from the contemplation of beauty as grace during the destruction of the Russian “estate culture”.
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El Shakry, Hoda. "Existential Poiesis in Maḥmud al-Masʿadī’s Mawlid al-nisyān." In The Literary Qur'an, 37–57. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0002.
Анотація:
Chapter 1 examines Tunisian intellectual Maḥmūd al-Masʿadī’s 1945 mythical novella Mawlid al-Nisyān [the Genesis of Forgetfulness] about a physician on a spiritual quest for a drug to defeat time. Maḥmūd al-Masʿadī (1911–2004) was a prolific writer, educator, editor, trade unionist, and government official. The novella integrates Sufi philosophy, existentialism, and humanism in its exploration of the relationship between the human and divine. The chapter frames these concerns within the novella’s Qurʾanic intertextuality and al-Masʿadī’s broader philosophical writings on Islam and literature. Across his critical and literary oeuvre, al-Masʿadī explores literature as a creative praxis that speaks to broader existential and humanist concerns. Crowned the founder of “Muslim Existentialism,” he theorizes Islam as a philosophy of existence intimately connected to the artistic process. The chapter reads his novella Mawlid al-Nisyān as a Sufi spiritual journey that explores creation as an ethical imperative of human existence.
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Harchi, Kaoutar, Jenny Money, Kathryn Kleppinger, and Laura Reeck. "Banlieue Writers: the Struggle for Literary Recognition Through Collective Mobilization." In Post-Migratory Cultures in Postcolonial France, 44–59. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0003.
Анотація:
This chapter focuses on processes of social categorization used in the French literary field to define authors born in France to postcolonial immigrant parents. In 2007, the collective 'Qui fait la France?' released a volume of short stories called Chroniques d’une société annoncée, prefaced by its manifesto that was also released to the popular press. Composed of authors self-identifying as having 'mixed identities', the collective aimed through the publication of their manifesto and short stories to transform French literature through narrating and recognizing the unique histories, suffering, and aspirations of ethnically diverse populations. Meanwhile, its reception demonstrated how judgments of artistic value for cultural production by French artists of postcolonial immigrant heritage reveal problems tied to the conditions, modalities, and process of categorizing literary production. Through a sociological reconstruction of the formal and subjective meanings that each individual (artist, journalist, publisher, producer, etc.) ascribes to his/her actions, this chapter exposes the various logics through which artistic labelling based on social criteria establishes hierarchies and categories that structure the French literary field.
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Barsht, Konstantin A. "Literary and Aesthetic Views of V.P. Burenin and the Artistic Principles of Proletkult." In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 204–17. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-204-217.
Анотація:
The study puts forward the hypothesis that the literary and aesthetic principles of “cynical realism” promoted by V. P. Burenin in 1860–80 meet the requirements that were put forward in relation to fiction by the figures of the Proletkult (1918–1922). In this regard, a comparative analysis of a number of provisions underlying the two aesthetic doctrines is carried out, with a conclusion concerning the similarity of their basic provisions and their parallelism in building requirements for literature and journalism, which should not only be thematically devoted exclusively to practical human activity, but also actually be an integral part of it. The idea of “impudent realism”, put forward by Burenin in 1860s which sounded like a call was implemented on a practical level in the writings of such figures of the Proletkult as B. Arvatov, V. Pletnev, A. Bogdanov, etc.
Тези доповідей конференцій з теми "Creation (Literary, artistic, etc.)":
1
Avramović, Zoran. "KNjIŽEVNE SLOBODE I DRUŠTVENE GRANICE U SRBIJI." In IDENTITETSKE promene: srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.135a.
Анотація:
The paper discusses the absolute freedom of literary (artistic) creation. The difference between general and literary freedom is emphasized. In the second part, different boundaries of literary creation in anti-democratic and democratic systems are pointed out. In anti-democratic systems, it is public authority that sets boundaries of artistic freedom, and in democratic systems it is the readers, critics, market, cultural institutions. It is concluded that criticism, condemnation (rejection by individuals and some institutions) of a literary content in democracy does not mean endangering the freedom of literary creation due to the fact that there are many publishers and cultural institutions. The claim of absolute freedom of creativity is also disputed.
2
YANG, QIN. "AN EMPIRICAL STUDY ON THE USE OF FOUR IMAGERY THINKING ACTIVITIES IN NOVEL TRANSLATION." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35963.
Анотація:
Abstract. Both literary translation and creation use language to shape artistic images, and artistic images are the crystallization of artistic thinking. Translation is not only cross-lingual transfer, but also conversion of thought. In novel translation, the translator's image thinking plays a vital role because of the characteristics of literary works. By the translation of Charles Frazier’s novel Nightwoods as an example, this paper illustrates how to make full use of four activities of imagery thinking (perception, association and imagination, emotion and harmony) during the translation process. By using of imagery thinking, the translation shows the charm and beauty of original works, and achieves images reproduction of novel character.
3
Zhai, Chongguang. "Listening to Spirituality: The Cultural Significance of Chinese Christian Literature--Taking Shi Wei's literary and artistic creation as the center." In 2017 International Seminar on Social Science and Humanities Research (SSHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sshr-17.2018.73.
4
Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.
Анотація:
The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.
5
Rocaciuc, Victoria. "Book graphics in the creation of the fine artist Stefan Sadovnikov." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.10.
Анотація:
Since the 1980s, visual artist Stefan Sadovnikov has been involved in book graphics. In this field, the artist managed to approach various genres of literature: poetry, prose, scientific literature, etc. According to the illustrated topics, the graphic techniques approached by the graphic designer are: pencil, pen, gouache, including computer techniques. The strong part of his illustrations consists in appealing by the artist to the plastic principles related to the sign and symbol. Analyzing the book illustrations signed by the fine artist Stefan Sadovnikov, we notice a wide range of allegorical symbols and metaphors created by the artist based on various principles of agglutination, interference of shapes and plastic lines, specific especially to the thinking of sculpture artists. By plastically combining the human figure with the object, the artist personifies the ideas of home, city, music, poetry and love. The artistic image appears as a quintessence of the human character’s relations with the object. Thus, in several illustrations created by the fine artist Stefan Sadovnikov, inanimate objects came to life and features identical to human character and spirit.
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Adascalița-Crigan, Lucia. "Nicolae Macarenco - representative artist of satirical graphics." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.01.
Анотація:
A prominent figure in the field of satirical graphics in the Republic of Moldova, Nicolae Macarenco, throughout his artistic career, conceived with great skill and dedication book illustrations for literary works signed by Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov, Alla Grekul, posters and aesthetically expressive and semantically valuable caricatures. Prodigious, talented, persevering and devoted to his profession, the protagonist is one of the established artists who, through his vocation and talent, marked an entire era in the satirical art of the Republic. Working successfully, especially in the genres of satirical-humorous graphics, the graphic designer gave birth to works that were frequently published in important periodicals such as the satire and humor magazine Chipăruş, the magazine Femeia Moldovei, the newspaper Tinerimea Moldovei and others. The study highlights both the thematic aspects of the artist’s creation and the determined, systematized, mirrored artistic options of the protagonist. Having examined the artist’s works, the author pays increased attention to problems of compositional image, the particularities of plastic representation through shape, line, tone of human characters, psychological states of anthropomorphic and zoomorphic characters. At the same time, the analytical approach is supported by highlighting the role of color in the process of amplifying expressions and messages generated by satirical works created by the graphic artist.
7
Gherman, Oxana. "Ion Vatamanu: the Poetry of Vegetal Pulsations." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.21.
Анотація:
The article proposes a hermeneutic approach to the vegetal motifs and symbols in Ion Vatamanu’s poetry. The author explores the ideational space of the great themes of the poetry of his times (love, homeland, maternal spirit, death, eternity etc.) and transposes into concrete visual or acoustic, olfactory or tactile images, man’s reactions to the greatness of divine creation, the revelation of the macrouniverse pulsating movements reflected in the microuniverse. The system of meanings of the symbolic elements of flora and the phenomenon of cyclical regeneration of living matter configure a new myth of anthropogenesis, based the idea of the vegetable origin of the human being. An impressive range of feelings is reflected in the images that capture the euphonies of nature’s metamorphoses. The leitmotif of the leaf, in the creation of Ion Vatamanu, triggers the creative energies, generates the artistic word, the significant nucleus of which concentrates the history of the entire universe becoming.
8
Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.
Анотація:
The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.
9
Galochkina, Tatiana. "Word formative structure of words with the root lěp- in Old Russian written records." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.10121g.
Анотація:
System of derivational morphology of the Old Russian language has its own characteristics based on the origin of the book vocabulary, which consisted mainly of Proto-Slavic words and calques from Greek words. The main morphological way of word formation was the heritage of the Proto-Slavic language, which developed together with the formation of morphemes as a language unit. Active derivation took place during the formation of the Old Russian book vocabulary. During this period an uninterrupted process began the creation of book translations from the Greek into Church Slavonic. The ancient scribes made extensive use of Greek words calquing, which especially intensified the creation of compound words. Compound words were formed according to the models of Greek composites, but using Russian morphemes. As a result of this process, the lexical fund of the literary language was created, which included words with the root *lěp-. Such words are contained in ancient Russian written records (“Life of St. Sava the Sanctified”, composed by St. Cyril Skifopolsky, “The Life of St. Andrew the Fool”, “The Chronicle” by John Malalas, “The Chronicle” by George Amartol, “History of the Jewish War” by Josephus Flavius, Christianopolis (Acts and Epistles of the Apostles), Uspensky Сollection of XII–XIII centuries etc.). In the article will be considered the word formative structure of words with the root lěp-.
10
Galochkina, Tatiana. "Word formative structure of words with the root lěp- in Old Russian written records." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.10121g.
Анотація:
System of derivational morphology of the Old Russian language has its own characteristics based on the origin of the book vocabulary, which consisted mainly of Proto-Slavic words and calques from Greek words. The main morphological way of word formation was the heritage of the Proto-Slavic language, which developed together with the formation of morphemes as a language unit. Active derivation took place during the formation of the Old Russian book vocabulary. During this period an uninterrupted process began the creation of book translations from the Greek into Church Slavonic. The ancient scribes made extensive use of Greek words calquing, which especially intensified the creation of compound words. Compound words were formed according to the models of Greek composites, but using Russian morphemes. As a result of this process, the lexical fund of the literary language was created, which included words with the root *lěp-. Such words are contained in ancient Russian written records (“Life of St. Sava the Sanctified”, composed by St. Cyril Skifopolsky, “The Life of St. Andrew the Fool”, “The Chronicle” by John Malalas, “The Chronicle” by George Amartol, “History of the Jewish War” by Josephus Flavius, Christianopolis (Acts and Epistles of the Apostles), Uspensky Сollection of XII–XIII centuries etc.). In the article will be considered the word formative structure of words with the root lěp-.
Звіти організацій з теми "Creation (Literary, artistic, etc.)":
1
Журба, С. С. Інтертекстуальні перегуки та збіжності у прозі М. Хвильового та Ф. Кафки. Акцент, 2007. http://dx.doi.org/10.31812/123456789/6037.
Анотація:
The purpose o f the article is to research the intertextual literary accordance in the prose o f the Ukrainian and the Austrian artists. The main attention is paid to the problems o f sense o f human existence, reasons o f reincarnation and the way in their literary works. Interlace o f descriptions, episodes open the opportunity to show the accordance, parallels in the literary works o f the writers. Intertextual connections o f M.Khvylovyj’s and F.KaJka's prose extend the content field o f literary works, make the artistic world-image more distinct, and enter the context of modern paradigm o f artistic creation.
2
Nezhyva, Liudmyla L., Svitlana P. Palamar, and Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4415.
Анотація:
The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work, the relevance of use of AR to modern educational challenges, and also demonstrated the possibility of immersion into the space of artistic creation and activation of students’ imagination with the help of AR applications. The article demonstrates the possibilities of use AR-technology for the development of emotional intelligence and creative thinking, solving educational tasks by setting up an active dialogue with literary heroes. The basic stages of the application of AR technologies in the literary reading lessons in accordance with the opportunities of the electronic resource are described: involvement; interaction; listening, reading and audition; research; creative work; evaluation. It is confirmed that in the process of using augmented reality technology during the reading lessons, the qualitative changes in the process of formation of the reader’s culture of the students of experimental classes appears, as well as the increase of motivation, development of emotional intelligence and creative thinking.
3
Кучерган, Єлизавета Валеріївна, and Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.
Анотація:
The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.