DRAMATIC EXPRESSIVENESS OF THE LANGUAGE OF FOLK CHARACTER DANCE IN CLASSICAL HERITAGE BALLETS

2021 ◽  
Vol 1 (4) ◽  
pp. 150-158
Author(s):  
T. V. Pashkova ◽  
Keyword(s):  
Figurative Language ◽  
Unique Feature ◽  
Distinctive Features ◽  
Russian Art ◽  
Russian Music ◽  
Xxist Century ◽  
Dramatic Characters ◽  
Classical Ballet ◽  
New Generation ◽  
Significant Attention

The article focuses on the phenomenon of folk character dance, which is a unique feature of Russian art, traces the key stages in the development of folk character dance in Russian ballet and identifies the sources that served as the basis for its figurative language. It is noted that the language of folk character dance is the creative fruit of many choreographers, whose works in the XXIst century are perceived as vivid examples of heritage. The author reviews the specificity of imagery in folk character dance currently existing in classical ballet repertoire. Significant attention is paid to the subtleties of depicting national characters when creating dance images of various ethnic groups. The author also considers the characteristic visualization in folk character dance, highlighting and describing distinctive features of a number of national characters more frequently implemented by the language of folk character dance in classical ballet and opera choreography of Russian music theatres. The article substantiates the idea that underestimating the potential of the language of folk character dance as means of expressiveness in ballet theatre leads to limitations for the new generation of choreographers striving to create realistic and truthful dramatic characters, depriving them of national distinction. In her research, the author aims to actualize the question of preservation of national character on the Russian ballet stage in the XXIst century.

On translating Emily Brontë’s style in Wuthering Heights into Arabic

Babel ◽  
2021 ◽  
Author(s):  
Fatima Muhaidat
Keyword(s):  
World Literature ◽  
Figurative Language ◽  
Material Objects ◽  
The Novel ◽  
Source Text ◽  
Considerable Effort ◽  
Distinctive Features ◽  
Arabic Translation ◽  
Wuthering Heights

Abstract Translating Emily Brontë’s (1818–1848) Wuthering Heights (1847) into Arabic is a complex and multifaceted task. This paper explores the challenges involved in this task by discussing distinctive features of Brontë’s style and their counterparts in Mamdouh Haqqi’s Arabic translation of the novel. Stylistic features under focus include lexis, figurative language, and structure. As for Brontë’s lexis, it intricately knits elements like characters, setting, and themes. To take their readers to the unpredictable world of Wuthering Heights, translators try to find Arabic equivalents suggesting the associations and connotations of the Source Text (ST) style. Among the obstacles translators need to overcome are lexical gaps, as some lexicalized thoughts and experiences in English have no lexicalized equivalents in Arabic. Resorting to paraphrases may result in sacrificing the compactness of the source text (ST) and losing some shades of meaning. Further complications result from dealing with figurative language. Conveying Brontë’s imagery, personifications, and references to abstract notions in terms of material objects requires thoughtful consideration. Furthermore, the structure of Brontë’s language significantly expresses characters’ attitudes and other subtle traits. Less vivacious translations are expected when the function of expressions in the ST eludes translators’ attention. Throughout the discussion, suggestions are made to provide readers of the text in Arabic with better access to the ST. At the same time, the researcher acclaims Haqqi’s translation which reflects a considerable effort to make a landmark of English/world literature accessible to Arab readers.

AFTER READING "HAMLET": THREE VIEWS ON A MASTERPIECE BY W. SHAKESPEARE

2020 ◽  
Vol 1 (4) ◽  
pp. 96-102
Author(s):  
M. P. Zachinyaeva ◽  
Keyword(s):  
Russian Translation ◽  
Boris Pasternak ◽  
Distinctive Features ◽  
Russian Music ◽  
Main Emphasis ◽  
History Of

This article is devoted to modern interpretations of W. Shakespeare's famous play in Russian music at the turn of the XXth — XXIst centuries on the example of R. Shchedrin's "Hamlet Ballad" — an instrumental work for the cello ensemble (2004), operas of the same name by S. Slonimsky (1991) and V. Kobekin (2006). Little-known pages from the history of creation and stage fate of "Hamlet Ballad" by R. Shchedrin are opened. The main emphasis in the publication is placed on the work of Vladimir Kobekin as the most radically read domestic version of the classic tragedy of the English playwright. The author defines the historical preconditions and reasons explaining the genre transformation of the opera into a comedy. Moreover, the author considers the distinctive features of Arkady Zastyrets's play, on which V. Kobekin relies in his libretto, from the "classical" Russian translation by Boris Pasternak, which is the basis of the opera by S. Slonimsky. The facts of the creative biography of contemporary Russian playwright and translator Arkady Zastyrets (1959–2019) are more fully revealed. The article also touches upon the musical dramaturgy of V. Kobekin's opera "Hamlet".

The 1921–1923 Famine and the Holodomor of 1932–1933 in Ukraine: Common and Distinctive Features

2020 ◽  
Vol 48 (3) ◽  
pp. 549-568 ◽  
Author(s):  
Omelian Rudnytskyi ◽  
Stanislav Kulchytskyi ◽  
Oleksandr Gladun ◽  
Natalia Kulyk
Keyword(s):  
Comparative Analysis ◽  
Socialist Republic ◽  
Soviet Socialist Republic ◽  
Distinctive Features ◽  
The Third ◽  
Economic Context ◽  
First Time ◽  
Significant Attention ◽  
Epidemiological Situation ◽  
Different Parts

AbstractThis article covers the preconditions, causes, and consequences of the famine of 1921–1923 and of the Holodomor of 1932–1933. Significant attention is paid to the geography and scale of the famine. For the first time in the historiography of the famine of 1921–1923, a thorough assessment is conducted of the demographic loss of population for Ukraine as a whole, seven oblasts, and the Moldova Autonomous Soviet Socialist Republic (ASSR). A comparative analysis of the research results of the 1921–1923 famine and the Holodomor of 1932–1933 is presented. The discussion consists of three parts. The first part addresses the famine of 1921–1923. It examines the historico-political and economic context of the famine, its scale, and its uneven effect on different parts of the country. Special attention is paid to the sanitary-epidemiological situation which was closely tied to the famine itself. The second part is devoted to the Holodomor of 1932–1933. A comparative analysis of losses during the famines of 1921–1923 and 1932–1933 is presented in the third part.

scholarly journals Low-Density Polybutylene Terephthalate Foams with Enhanced Compressive Strength via a Reactive-Extrusion Process

Polymers ◽  
2020 ◽  
Vol 12 (9) ◽  
pp. 2021
Author(s):  
Merve Aksit ◽  
Sebastian Gröschel ◽  
Ute Kuhn ◽  
Alper Aksit ◽  
Klaus Kreger ◽  
...  
Keyword(s):  
Compressive Strength ◽  
Cell Walls ◽  
Reactive Extrusion ◽  
Extrusion Process ◽  
Low Density ◽  
Compressive Properties ◽  
Polybutylene Terephthalate ◽  
New Generation ◽  
Reactive Extrusion Process ◽  
Significant Attention

Due to their appealing properties such as high-temperature dimensional stability, chemical resistance, compressive strength and recyclability, new-generation foams based on engineering thermoplastics such as polyethylene terephthalate (PET) and polybutylene terephthalate (PBT) have been gaining significant attention. Achieving low-density foams without sacrificing the mechanical properties is of vital importance for applications in the field of transportation and construction, where sufficient compressive strength is desired. In contrast to numerous research studies on PET foams, only a limited number of studies on PBT foams and in particular, on extruded PBT foams are known. Here we present a novel route to extruded PBT foams with densities as low as 80 kg/m3 and simultaneously with improved compressive properties manufactured by a tandem reactive-extrusion process. Improved rheological properties and therefore process stability were achieved using two selected 1,3,5-benzene-trisamides (BTA1 and BTA2), which are able to form supramolecular nanofibers in the PBT melt upon cooling. With only 0.08 wt % of BTA1 and 0.02 wt % of BTA2 the normalized compressive strength was increased by 28% and 15%, respectively. This improvement is assigned to the intrinsic reinforcing effect of BTA fibers in the cell walls and struts.

The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets

2021 ◽  
Vol 17 (6) ◽  
pp. 626-637
Author(s):  
Anna P. Navetnaya
Keyword(s):  
20Th Century ◽  
Modern Dance ◽  
Bela Bartok ◽  
Early 20Th Century ◽  
Musical Structure ◽  
New Type ◽  
Classical Ballet ◽  
Definition Of ◽  
Classical Subject ◽  
New Generation

This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.

Rich Russians’ Philanthropy

2018 ◽  
Author(s):  
Elisabeth Schimpfössl
Keyword(s):  
Nineteenth Century ◽  
Civil Society ◽  
Social Hierarchy ◽  
Educational Opportunities ◽  
Upper Class ◽  
Russian Art ◽  
The Social ◽  
New Generation ◽  
Elite Philanthropy

Chapter 5 describes the networks of philanthropy that upper-class Russians have cultivated since the early 2000s in order to legitimize their wealth. It reports on the importance rich Russians attribute to the revival of Russia’s nineteenth-century tradition of elite philanthropy; the Orthodox church’s taboo against discussing one’s giving; and the preference for supporting healthy, deserving children. It also describes projects that provide educational opportunities, care for the sick, and those that strengthen Russian art and the intelligentsia. Finally, it identifies how philanthropy is being used as a lever to reshape civil society, restore trust in the social hierarchy, and fashion a new generation of supposedly deserving bourgeoisie. Overall, it suggests that bourgeois philanthropists have constructed complex ideas about their lives, their influence in the present, and their posthumous legacy.

scholarly journals Transforming the Possible intoAction in Colson Whitehead’s Novel “The Intuitionist”

2021 ◽  
Vol 4 (2) ◽  
Author(s):  
Clementina Alexandra Mihăilescu ◽  
Keyword(s):  
Black People ◽  
Psychological Theory ◽  
Personal Construct ◽  
Personal Construct Theory ◽  
Construct Theory ◽  
Xxist Century ◽  
Communication Context ◽  
The One ◽  
The Individual ◽  
New Generation

The XXIst century, known among others as a “culture of empiricism,” is a time of accelerated technology and engineering feats, on the one hand and of controversial race problems, on the other. For approaching Colson Whitehead’s novel “The Intuitionist,” where the writer is travelling back and forth between “the naturalist novel of race” and “the imaginative novel of ideas,” George Kelly’s Personal Construct Theory will be employed as a methodological device to decode its intricate meaning. Kelly’s socio-psychological theory incorporates vectors of action and perception meant to reveal how the individual construes the world, in Whitehead’s case, how Lila Mae Watson, the city’s first black female elevator inspector, construes herself as the follower of James Fulton, another black person, father of Intuitionism and promoter of vertical thought, meant to give rise to the perfect, new generation elevator in a city marked by pain and the stoicism of black people who look for the ultimate elevator that will take them “up and out.” Kelly’s concept of motivation will be also turned into account through his argument that people act not because of “motive forces,” but because of alternative perspectives that better suit them. Motivation will also grant to Lila MaeWatson the ability “to transform the possible into action and create values” (Alfred Whitehead, qtd in Lavelle, 1997: 146) and it will be commented upon as a prestigious educational device meant to ensure a greater understanding of the communication context present in Whitehead’s novel.

scholarly journals Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis

2019 ◽  
pp. 77-89
Author(s):  
Marta Kravchenko
Keyword(s):  
Contemporary Art ◽  
Young Generation ◽  
Distinctive Features ◽  
Avant Garde ◽  
Decorative Art ◽  
Applied Art ◽  
Alternative Materials ◽  
Strong Position ◽  
New Generation ◽  
Conceptual Foundations

The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.

scholarly journals Novel trends in the symphonic work of Soviet composers of the 1960s and B. Tishchenko's Symphony No.3. Part 1

2021 ◽  
pp. 1-18
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Detailed Analysis ◽  
New Music ◽  
Musical Language ◽  
Music Culture ◽  
Modern Music ◽  
Russian Music ◽  
The Subject ◽  
The 1960S ◽  
New Generation ◽  
Symphonic Work

The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

INFORMATION TECHNOLOGIES AS THE NEWEST SOCIAL PARADIGM OF THE LIFE OF YOUTH

2018 ◽  
Vol 7 (1) ◽  
pp. 322-328
Author(s):  
Lesia Kovalska
Keyword(s):  
Information Technologies ◽  
Personal Characteristics ◽  
Research Problem ◽  
Professional Activity ◽  
Distinctive Features ◽  
Technology System ◽  
The Social ◽  
Education Culture ◽  
New Generation

The article analyzes social aspects of the Y generation life in the information technology system. There was chosen a methodological toolkit to examine the essence of the concepts “millennials”, “digitization” and “gaming”. They determine the distinctive features of millennials from previous and subsequent generations. It is concluded that the informatization of the society life leads to a change in the consciousness of a person, especially in the Y generation which was formed in the information-oriented society. Coverage of the indicated directions of the article is performed by analyzing the components of the research problem, in particular the generation of information technologies, digitization of the life of youth, gaming as a method of motivation and involvement in the social processes of society. It is determined that the representatives of the new generation are characterized by increased attention to the social problems. It is ascertained that digitization is a specific approach to the use of digital resources for improving the quality of life and personal characteristics of the Y generation in the process of self-realization. Gaming is a motivational element of social contacts of the generation of millennials in the field of health, sports, education, culture, and professional activity.

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