scholarly journals Image, Function, Meaning, and Structure: The Role of Aphorisms in the Kazakh Epic Poem Kyz Zhibek

2020 ◽  
Vol 23 ◽  
Author(s):  
Muhammadgali Abduov ◽  
Nazilya Abduova ◽  
Nicolae Stanciu
Keyword(s):  
Folk Song ◽  
Main Function ◽  
Epic Poem ◽  
Folk Literature ◽  
Image Function ◽  
The Aesthetic ◽  
Linguistic Methods ◽  
Universal Bases ◽  
And Linguistics

In this article, the function of aphorisms in folk song, which also contains lyrical and dramatic elements, is analysed and defined through cultural (mostly folklore) literature, and linguistic methods. The main purpose of this paper is to show the role of the gnomic words generated by folk creators in an epic poem’s plot, their main functions in the development of conflict and the aesthetic expression of the work. Therefore, the meaning of symbols has been interpreted in close connection with the actions, archetypes and metaphors inserted in the structure of the song. Using as an example the song “Kyz Zhybek”, which is a prominent creation in Kazakh folklore, and reviewing research papers on the subject, the present article follows the contrastive analysis in researching the echoes of archetypal traditions in a Muslim cultural frame. Ethnos in culture remains in an attempt to recover the identity of a group using what seems specific in folklore, history, and linguistics and to track them in an original ideology articulated on national and universal bases. This paper may help researchers when studying folklore heritage, with understanding the scope of using the aphorisms and the main function actualised by them in folk literature. In addition, the role of aphorisms in a folk song is systematised, and their historical and identity significance is underlined.

scholarly journals The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

2019 ◽  
Vol 52 (52) ◽  
pp. 101-118
Author(s):  
Y. Radkevych
Keyword(s):  
National Culture ◽  
Deep Understanding ◽  
Folk Songs ◽  
Folk Song ◽  
Scientific Article ◽  
Creative Personality ◽  
Instrumental Accompaniment ◽  
The Aesthetic ◽  
Orchestral Arrangements

Background. Turning to the original sources of Ukrainian musical culture, we should point out the greatest achievements that appear to be the folk-song tradition. The problem of authorship of musical folklore was not considered for well-known reasons: its decisive features are oral, anonymous, collective way of creation. If the phenomenon of authorship is present in various manifestations of musical creativity (composing, performing, directing, etc.) and works in various forms of musical art of the past and present, today the study of the role of the singer as a co-author in the contemporary representation of Ukrainian folk song has not yet become a subject of a special scientific interest. The stated problem opens the prospect of developing the interpretation science as a science of the phenomenology of the artist’s creative personality in various artistic discourses. The urgency of the topic is to study the peculiarities of the representation of Ukrainian folk songs in the contemporary concert repertoire on the example of the activities of the iconic representatives of the national culture: Kvitka (Kacey) Cisyk, Nina Matvienko, and Taras Kompanichenko. Objectives. The purpose of the research is to substantiate the role of the singer as the co-author in representing the Ukrainian folk song in the contemporary concert and artistic space on examples of multi-genre patterns (folk song, song-romance, spiritual chants). Methods. The methodology of the research is based on the genre, structurally functional and interpretive scientific approaches. Results. In order to highlight the peculiarities of the representation of Ukrainian folk songs in the concert and artistic space of today, within the framework of the scientific article, let us dwell on the consideration of the following genres of folk song: folk song, song-romance, and chant. In the unique performance by Kvitka Cisyk (1953–1998) of the chosen folk song “Verse, my verse” the singer appears as the co-author of the song. As one knows, this folk song has no authorship (being an example of the collective folk-song tradition). The level of co-authorship of the singer can be defined as the one corresponding to the traditional performance (the performer as the author). Another example considered is G. Skovoroda’s “Every City Should Have Its Character and Rights” in two versions (N. Matvienko and T. Kompanichenko) and two genre dimensions. Thus, in the detailed analysis of the sample, it can be argued that in the performance of N. Matvienko it sounds like a song-romance, and T. Kompanichenko’s interpretation makes clearer its genre attribution as a spiritual chant (the ethical basis). The song-romance performed by N. Matvienko appears as a bright theatrical performance. The singer represents the song in an elegant manner, appealing to the style basics of the musical baroque. In the instrumental accompaniment of the Ensemble of Ancient Music of K. Chechenia (Konstantin Chechenia), the baroque sound-ideal of the court secular culture was embodied. N. Matvienko, as the co-author of this composition, refined the baroque sounding (the deep understanding of the verbal text by G. Skovoroda, organic in the embodiment of the aesthetic and musically-immanent principles of the baroque style). “Every City Should Have Its Character and Rights” performed by T. Kompanichenko is characterized by such features as: 1) the introvert nature of the expression as a notable feature of the kobza-lyre tradition; 2) the interpretation by the performer of the “Skovoroda” song as an example of the spiritual chant (the correspondence of the repertoire of the traditional singing); 3) the organic and indissoluble nature of the vocal and instrumental components (singing performance (spivogra) as an attributive quality of the kobza-lyre tradition). Conclusions. The role of K. Cisyk as the co-author of the folk song “Verse, my verse” is evidenced in the fact that the singer managed to reach the level of the standard of interpretation of Lemko folk song, as much as possible tending to perform the song without any change. The subtle feeling of Ukrainian melody with the introduction of the contemporary sound (the high artistic orchestral arrangements by J. Cortner) is stated as a manifestation of the national sound ideal (according to O. Bench). In N. Matvienko’s performing interpretation of the song-romance “Every City Should Have Its Character and Rights” in the framework of the modern concert stage (with the sound of timbres of unique Ukrainian baroque musical instruments), the national baroque style constants (the concept of “the world as a theatre”) became more visible. The performing interpretation by T. Kompanichenko is aimed at the completeness of the disclosure of the concept of the composition as an ideological and aesthetic orientation of the kobza-lyre tradition. Without violating its style basics, the singer, as the co-author of the composition performed, appears to be the driving force behind the enrichment and development of the established stylistic principles of the kobza-lyre tradition. The provided multi-genre samples performed by the iconic representatives of the national culture are based on the established tradition of folk song and express the integrity of the creative personality of the performers as bearers of the spiritual tradition of ethnic culture. The prospects for further research in this direction may be related to the study of the iconic phenomena of the performing music culture of Ukraine, which find an appeal in the socio-cultural and research space of today

ИЛИМИЙ ИЗИЛДӨӨЛӨРДYН НЕГИЗИНДЕГИ СТЕРЕОТИПТЕРДИН ФУНКЦИЯЛАРЫ

2020 ◽  
pp. 12-15
Author(s):  
Айзат Бутешова
Keyword(s):  
Main Role ◽  
Self Awareness ◽  
Main Function ◽  
Ethnic Stereotypes ◽  
Cross Cultural Communication ◽  
The Subject ◽  
The Difference ◽  
And Linguistics ◽  
Social Stereotype

Аннотация: Бул илимий макаланын негизги максаты – стереотиптердин тил илиминдеги жана лингвистикадагы негизги ролун, алардын негизги функцияларын бөлүп көрсөтүү, стереотип менен адатка айланган ынанычтын айырмасын аныктоо. Буга байланыштуу стереотип, этностереотип, мента- литет жана адатка айланган ынаныч сыяктуу түшүнүктөр дифференцияланды. Изилдөө процессинин жүрүшүндө стереотиптердин пайда болуу себептери такталып, аларды алып жүрүүчүлөр, ошондой эле этностереотиптердин булактары аныкталды. Окумуштуу-тилчилер изилдөөлөөрүндө стереотиптер аркылуу адам дүйнөнү чектөөсүз толугу менен таанып билерин баса белгилешти. Стереотиптердин функцияларын ар башка багыттардагы көптөгөн илимпоздор карашкан, өз изилдөө предметине жараша стереотиптердин бири-бирине кандайдыр бир байланышта болгон ар кандай функциялары белгиленип аныкталган. Макалада ар түрдүү мисалдардын негизинде стереотиптер эмоциялык боёкко, чындыкка жана негиздүүлүккө ээ экендиги көрсөтүлдү. Демек, этностереотиптердин негизги функциясы болуп элдин өзү тууралуу көз карашын коргоо, өз маданиятын жана өзүн өзү таанып билүү деңгээлин жогорулатуу эсептелет. Түйүндүү сөздөр: стереотип, коомдук стереотип, этномаданияттык стереотип, коом аралык баарлашуу. Аннотация: Целью данной статьи является выявление основной роли стереотипов в языкознании и лингвистике, выделение их основной функции, определение разницы между стереотипами и предрассудками. В связи с этим были дифференцированы такие понятия как стереотип, этностереотип, менталитет, предрассудки. В процессе проведенного исследования были установлены причины возникновения стереотипов, его носители, а также источники этностереотипов. Ученые-лингвисты в своих исследованиях подчеркивают, что благодаря стереотипам человек узнает мир полным без границ. Функции стереотипов рассматривались многими учеными разных направлений, и в зависимости от предмета исследований ими были выделены разные функции стереотипов, в какой-то мере перекликающихся между собой. В статье на основе примеров показано, что стереотипы обладают эмоциональной окрашенностью, истинностью и обоснованностью. Следовательно, главной функцией этнических стереотипов является защита представлений народа о самом себе, о своей культуре, и повышение уровня самосознания этноса. Ключевые слова: стереотип, социальный стереотип, этнокультурный стереотип, межкультурная коммуникация, предрассудки. Annotation: The purpose of this article is to identify the main role of stereotypes in linguistics and linguistics, highlight their main functions, determine the difference between stereotypes and prejudices. In this regard, concepts such as stereotype, ethnostereotype, mentality, and prejudice were differentiated. In the process of the study, the causes of stereotypes, its carriers, as well as the sources of ethnostereotypes were established. Scientists - linguists in their studies emphasize that thanks to stereotypes a person learns the world complete without borders. The functions of stereotypes were considered by many scientists of different directions, and depending on the subject of research, they identified different functions of stereotypes, to some extent overlapping with each other. Based on examples, the article shows that stereotypes have emotional coloring, truthfulness and validity. Consequently, the main function of ethnic stereotypes is to protect the people's perceptions of themselves, their culture, and increase the level of self-awareness of the ethnic group. Key words: stereotype, social stereotype, ethno cultural stereotype, cross-cultural communication, prejudices.

Questions on the role of biofilms for the adaptation of microorganisms to unfavorable environmental factors by the example of P. aeruginosa

2020 ◽  
Vol 99 (4) ◽  
pp. 379-383
Author(s):  
Vasily N. Afonyushkin ◽  
N. A. Donchenko ◽  
Ju. N. Kozlova ◽  
N. A. Davidova ◽  
V. Yu. Koptev ◽  
...  
Keyword(s):  
Antibiotic Resistance ◽  
Environmental Factors ◽  
Barrier Function ◽  
Infectious Agent ◽  
Antagonistic Activity ◽  
The Body ◽  
Main Function ◽  
Pathogenic Potential ◽  
The Face

Pseudomonas aeruginosa is a widely represented species of bacteria possessing of a pathogenic potential. This infectious agent is causing wound infections, fibrotic cystitis, fibrosing pneumonia, bacterial sepsis, etc. The microorganism is highly resistant to antiseptics, disinfectants, immune system responses of the body. The responses of a quorum sense of this kind of bacteria ensure the inclusion of many pathogenicity factors. The analysis of the scientific literature made it possible to formulate four questions concerning the role of biofilms for the adaptation of P. aeruginosa to adverse environmental factors: Is another person appears to be predominantly of a source an etiological agent or the source of P. aeruginosa infection in the environment? Does the formation of biofilms influence on the antibiotic resistance? How the antagonistic activity of microorganisms is realized in biofilm form? What is the main function of biofilms in the functioning of bacteria? A hypothesis has been put forward the effect of biofilms on the increase of antibiotic resistance of bacteria and, in particular, P. aeruginosa to be secondary in charcter. It is more likely a biofilmboth to fulfill the function of storing nutrients and provide topical competition in the face of food scarcity. In connection with the incompatibility of the molecular radii of most antibiotics and pores in biofilm, biofilm is doubtful to be capable of performing a barrier function for protecting against antibiotics. However, with respect to antibodies and immunocompetent cells, the barrier function is beyond doubt. The biofilm is more likely to fulfill the function of storing nutrients and providing topical competition in conditions of scarcity of food resources.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

Human Rights Activities as a Function of the Prosecutor’s Office

2020 ◽  
Vol 3 ◽  
pp. 88-93
Author(s):  
K.N. Golikov ◽  
Keyword(s):  
Human Rights ◽  
Civil Rights ◽  
Russian Federation ◽  
The State ◽  
Main Function ◽  
Federal Law ◽  
The Subject ◽  
The Russian Federation ◽  
The Law

The subject of this article is the problems of the nature, essence and purpose of prosecutorial activity. The purpose of the article is to study and justify the role of the human rights function in prosecutorial activities in the concept of a modern legal state. At the heart of prosecutorial activity is the implementation of the main function of the Prosecutor’s office – its rights and freedoms, their protection. This means that any type (branch) of Prosecutor's supervision is permeated with human rights content in relation to a citizen, society, or the state. This is confirmed by the fact that the Federal law “On the Prosecutor's office of the Russian Federation” establishes an independent type of Prosecutor's supervision-supervision over the observance of human and civil rights and freedoms. It is argued that the legislation enshrines the human rights activities of the Prosecutor's office as its most important function. It is proposed to add this to the Law “On the Prosecutor's office of the Russian Federation”.

The Role of microRNAs in the Viral Infections

2019 ◽  
Vol 24 (39) ◽  
pp. 4659-4667 ◽  
Author(s):  
Mona Fani ◽  
Milad Zandi ◽  
Majid Rezayi ◽  
Nastaran Khodadad ◽  
Hadis Langari ◽  
...  
Keyword(s):  
Viral Infections ◽  
Rna Viruses ◽  
Regulation Of Gene Expression ◽  
Molecular Structures ◽  
Main Function ◽  
Cellular Functions ◽  
Viral Genes ◽  
Non Coding Rnas ◽  
Post Transcriptional Regulation

MicroRNAs (miRNAs) are non-coding RNAs with 19 to 24 nucleotides which are evolutionally conserved. MicroRNAs play a regulatory role in many cellular functions such as immune mechanisms, apoptosis, and tumorigenesis. The main function of miRNAs is the post-transcriptional regulation of gene expression via mRNA degradation or inhibition of translation. In fact, many of them act as an oncogene or tumor suppressor. These molecular structures participate in many physiological and pathological processes of the cell. The virus can also produce them for developing its pathogenic processes. It was initially thought that viruses without nuclear replication cycle such as Poxviridae and RNA viruses can not code miRNA, but recently, it has been proven that RNA viruses can also produce miRNA. The aim of this articles is to describe viral miRNAs biogenesis and their effects on cellular and viral genes.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

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