აღმოსავლური ტექსტი როგორც მხატვრული რეფლექსიის დიალოგური სტრუქტურის რეკონსტრუქციის ინსტრუმენტი მიხეილ ლერმონტოვის გვიანდელ ლირიკაში

The purpose of the study is to determine the role of ‘Abd ar-Rahman Jami (1414-1492) in the formation of the ‘new style’ (tarz-i tāza) of medieval Persian poetry, which fully developed in the 16-17 centuries. The article aims to create a more accurate picture of Jami’s position in the poetic practice of his time, the influence of his artistic experience on the work of poets of the next generations, and, ultimately, the place of the great poet in the history of Persian literature as a whole. The scientific novelty of the study lies in the fact that Jami’s lyrical poetry is being considered in this perspective for the first time: the comparison of the ideas expressed in his ghazals about the perfection of poetic speech with the statements of poets of a later time has not been carried out before. The analysis showed some lexical components and motifs of the Jami’s ghazals, which continued active development in the lyrics of the adherents of the ‘new style’ – Figani Shirazi (second half of the 15 cen. – 1516 or 1519), Saib Tabrizi (1601-1667), Shaukat Bukharai (died 1695). These were repeated epithets and comparisons, as well as groups of motifs related to the genre repertoire of ‘self-praise’ (faxr). The individual author’s techniques of transformation of traditional motifs, used by Jami to achieve the effect of image visualizing, become an instrument of stylistic innovations for poets of the next generations. These techniques acquire a stable character in their work and become specific features of a ‘special manner’ (šīve-yi xāṣ). The analysis showed that Jami was a representative of the transitional phase of the stylistic evolution of Persian poetry, since his work combined two different criteria for the perfection of poetic speech – inherited from the previous period (‘sweetness’) and succeeding it (‘colorfulness’). Jami’s artistic endeavors have become entrenched in the poetic canon, and this suggests that his creative experience was one of the factors that changed the stylistic vector in Persian poetry during the 16-17 centuries.

Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”

If writing is a form of body (1), which of course is, how does the writing form its own body and style of its existence giving a symbolic a new dimension of political? This question first came my mind when I began think about modernist avant-garde writings in general and L+A+N+G+U+A+G+E writing and Conceptual writing in particular relating my own current ongoing research on body, political, and identity. I was wondering how the recent day writings like language poetry and conceptual poetry furnish an example my point that certain community form their own body and identity by their own self-affectivity, without being overpowered by the dominant ideology and meaning. In my own ongoing research, I am trying invent a new model of political identity moving away from the usual view of the political as a set of power relations between the binaries of ideology, class, gender, race, etc., always constructed by the instantiation of power on the level of state or government or other larger institutions. (2) My point is that there can be a new formation of our political identity going beyond the traditional way of attributing it power relations such as ideology, discourse, and knowledge formations. My interest is explore the possibility of developing a new model of identity beyond and sometimes within these boundaries of power relations, based (unlike the grand narratives of ideology, discourse, class, etc., which are often personalized or individualized) on prepersonal and preindividual affects, which shape our political; and this, I argue, occurs not on top of political formations such as states and governments but at the level of practices of individuals, or groups of individuals. To testify my claim, I bring two communities--one from Eastern culture (the sadhu community (3)) and the other from Western culture (the homosexual community)--into my discussion as case studies. For example, the sadhus construct their own bodies and thoughts (here, the formation of one's body and thought means the formation of political identity or being political), not borrowing from existing ideology, discourse and knowledge as found in mainstream politics, but developing their own body practices through the arrangement of prepersonal or preindividual forces (affects) (4). Similarly, the community of homosexuals creates their identity (their invention of new erotic zones in the body and new discourses of sexuality--i. e. political identity) and becomes political differently from mainstream political codification. This short editorial is an attempt observe how language writing and conceptual writing form their own modes of expression and their own identities as distinct poetic traditions as opposed to, what Charles Bernstein calls, official verse culture. I want show how the avant-garde communities of poets in their different group variations fit into my political categories of sadhus and homosexuals who form their own bodies and identities beyond the prevalent practices and thoughts, and how their writings (symbolic acts) are political. Charles Bernstein, Ron Silliman, Bob Perelman, Lyn Hejinian and other poets led a new movement in poetry in the 80s known as L+A+N+G+U+A+G+E poetry. Similarly, Caroline Bergvall, Christian Bok, Robert Fitterman, Kenneth Goldsmith, Vanessa Place, Craig Dworkin and Marjorie Perloff started introduce Conceptualism in poetry after 90s. The main objection of both groups of poets and critics the mainstream tradition was poetry is not a made thing but a making, or process. In other words, poetry is not a message a poet wants transmit but a medium--medium is a message--in which he expresses his concept. The poetry movement was intended to change the way the reader interacts or responds the poem. (5) The language and conceptualist poets believe that the materiality of the language and its objectivist/conceptualist presentation in poetry with the great care is what makes poetry proper. …

Essay| December 01 2005 Intersection for the Arts at Forty Sarah Lidgus Sarah Lidgus Sarah Lidgus recently graduated, from, California College of the Arts with an MA in Visual Criticism and works as a freelance arts and culture writer in San Francisco. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2005) 33 (3): 15–16. https://doi.org/10.1525/aft.2005.33.3.15 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Sarah Lidgus; Intersection for the Arts at Forty. Afterimage 1 December 2005; 33 (3): 15–16. doi: https://doi.org/10.1525/aft.2005.33.3.15 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 2005 by The Regents of the University of California2005 Article PDF first page preview Close Modal You do not currently have access to this content.

The article deals with the analysis of the art world of Natalia Zabila’s poetry in the context of social changes of the 1920th. The aim of the research is a reconstruction of interests and system of values in the time of women destruction by Bolsheviks in patriarchal society, abolition of discrimination of women, whose right for free self-determination was declared, and also protection of motherhood. These were social factors that affected the outlook of a person of the 1920th. The distorted understanding of these events formed an imperfect world outlook incarnated in literature of that time. In early texts of the Soviet authors a woman is considered as the enemy of socialism, and one, accepted new orders, is represented as pragmatic and masculine person. The value of family is saved in N. Zabila’s lyrics, and maternity that paints the art world with the gamut of feelings: from joy to grief of loss, becomes the main value. Being not married the character ignores patriarchal norms and can initiate either an intimacy with a man, or a break. But her materiality is described by images of the nature: a panther, a flower that shows desire to place materiality in a habitual to patriarchal society context. Only men’s wear is accented in appearance of the character as the character refuses to be merely the beauty that a woman had to be in a man’s world. Appearance in the art world of woman images of different professions: from the railroader to the engineer can be explained by search of other roles. N. Zabila’s civil lyric poetry is characterized by the mood of participation of the lyrical character in creation of the future. Motifs of class struggle in the works of poetess are inherent only in ballads, but the choice of genre displaces the represented to the sphere of invented. Thus, the lyric poetry by N. Zabila demonstrates the other marginalized and concealed experience of perception of the changes that had happened in society.

Purpose. This article examines the thematic continuity of Chekhov’s story “The Cossack” in relation to that of Tolstoy’s story, and also substantiates the possibility of a genetic link between the works. The stage works dedicated to the contacts and creative connections between Chekhov and Tolstoy are outlined. Results . The story of the creation of Chekhov’s story “The Cossack”, written under the influence of Tolstoy, is presented. A position has been put forward and substantiated as to why Chekhov did not include the story in the collection of his works. Chekhov’s story differs from Tolstoy's novella in the scope of the artistic world presented in it, its emblematic nature. Chekhov singles out a separate problem from Tolstoy’s major work and transposes it into another genre’s framework, which makes its own demands on its design. In Tolstoy’s story, the contradiction between the noble society and the Cossacks is shown dynamically. Chekhov, unlike his predecessor, only outlines it, but does not resolve it. According to the conditions of the genre, the author of the story is constrained by tight constrained, so he is forced to resort to means that allow him to expand the artistic world of the work. For Chekhov, such means were allusions and intertext. In the story “The Cossack” there are obvious intertextual references not only to Tolstoy’s story, but also to his story “What People Live By”. Conclusion . The fusion of the two precedent texts and references to them reflect Chekhov’s ambivalent combination of studying with Tolstoy and polemics with him.

In the paper the work of Vasyl Symonenko (lyric poetry, lyro epic, short stories) is integrally analysed. Attention to collections "Bank of expectations" and "For itself" is paid. The romantic features of lyric poetry, preparation of lyric hero to adult life, feeling of responsibility are marked. The verses of these collections help an author to attain an emotional equilibrium, perform the original psychotherapy duty. First printed collection "Silense and thunder" educed the updating of poetic maintenance at maintenance of classic forms. The poles of "silense" (intimate lyric poetry) and "thunder" (civil lyric poetry) are analysed, didacticism and gnomic are marked. The posthumous collection "Earthly gravitation" strikes the "overpopulation" of the verse line, the concentration of idea, the transparency of ideas, the faith in the future. The features of address verses, facilities of fight against the negative public phenomena are studied. During the study of lyric poetry of V. Symonenko non-verbalized motives of aspiring to the changes, aspiration and spiritual way are educed. Romanticism of lyric poetry is consonant with short stories of V. Symonenko, collected in a book "Wine from roses". The plot organization and ideological level of short stories "He interfered with her to sleep", "Wine from roses", "Black horseshoe" are analysed. An accent on the open finales of works is done. The fairy-tales of the sixty contain a political implication, but they could be addressed to the junior reader. For more complete understanding of the artistic world of author it is necessary to know his literary-critical work, foremost the article "Beauty without beauties ", sanctified to the poetry of L. Kostenko. V. Symonenko appears in the hypostasis of professional reader that analyses collection "Trip of heart". V. Symonenko noticed beauty, wisdom, thin heartfelt sensitiveness and good taste, could be said about a critic. The conclusion, that a poet kept straight in life, and in work, as well as majority of sixties is drawn.

This scientific study presents experimentally substantiated effective psychological models, the author's interpretation of the results obtained, based on rich personal experience in martial arts, allows the studied Greco-Roman wrestlers to successfully use their potential in the process of a competitive duel. Psychophysiological testing of students-athletes studying in higher educational institutions and engaged in the group of sports improvement at the Greco-Roman wrestling department was carried out. Purpose of the study. To reveal effective psychological models of wrestling in Greco-Roman style wrestlers studying at universities and being members of sports improvement groups. Practical significance. The results of the study can be useful in the practice of trainers of Greco-Roman style wrestlers, university teachers, teachers of physical education. Materials. Students of non-athletic universities in the amount of 51 people who are members of the student teams in Greco-Roman wrestling and sports improvement groups, with sports qualifications Candidate Master of Sports, Master of Sports. Research methods. Analysis of scientific and methodological literature on the research topic, pedagogical testing and pedagogical experiment, psychological testing: Lazarus test, Eysenck questionnaire, Spielberg-Khanin test, statistical processing of results: IBM SPSS Statistics 22. Results. The data of wrestlers' typological parameters were obtained, as a result of which it was possible to identify effective coping strategies, as well as to develop a model for the influence of various psychological factors on wrestling and wrestling. Conclusion. The applied coping strategies allowed athletes to more often implement successful technical and tactical actions that contribute to a higher sports result for different styles of combat.

. The article is devoted to the analysis of the early lyrics of N. A. Klyuev: its socio-political motifs are considered, both in the context of the poet’s biography, and through the prism of Modern slavery, a work by the ideologist of social Christianity F.-R. Lamennais. This kind of rapprochement is rooted in the content of Klyuev’s works, as well as a number of circumstances related to the place of publication of Lamennais’ work in Russian, namely, the revolutionary publishing house “Seyatel’,” well-known among socialist revolutionaries, to whom Klyuev was close in the mid-1900s. The integration of Klyuev into the circle of socialist revolutionaries in 1905–1907 suggests that the poet was familiar with the literature that was widespread in this circle, including Lamennais’ work Modern Slavery. This work of the ideologist of social Christianity is considered one of the sources of the life-creating pathos of Klyuev’s early lyrics, aimed at the universal transformation of being. The article conditionally identifies and reveals two stages of the formation of Klyuev’s social Christianity poetics. At the first stage, Klyuev’s works reproduce the main message of Lamennais’ work: the rejection of slavery inherited through the “modern slave’s” awareness of his human dignity and his rebellion, against the established sociohistorical tradition. At the second stage, the most important categories of Lamennais’ work — brotherhood, co-labor, and sacrifice — find their full meaning in Klyuev’s works: practical revolutionary work “for the brothers” now becomes a form of co-laboring with God, and the experience of difficulties and hardships on the revolutionary path — a form of spiritual co-crucifixion with Christ.

This paper explores the conceptualization and evolution of virtual exhibitions and immersive art experiences, highlighting their distinctions and similarities. Virtual exhibitions, conducted online or through digital media, offer a platform for showcasing artworks to a global audience without physical constraints. They employ multimedia elements to engage viewers and provide flexibility in exploration. Conversely, immersive art experiences create environments that envelop the viewer, stimulating multiple senses and often incorporating advanced technologies, such as virtual reality and augmented reality. These experiences aim to evoke emotional responses and facilitate active engagement with the artwork. While proponents argue that virtual exhibitions and immersive art experiences democratize access to art and offer new avenues for artistic expression, critics have raised concerns about their impact on authenticity, viewer engagement, and art commercialization. Philosophical and cultural perspectives, including phenomenology and postmodern theory, shed light on the complexities of these art forms and their relationship with reality and simulation. This paper, further, examines the social and business implications of virtual exhibitions and immersive art experiences, noting their growing popularity and influence on the art market. It discusses the viewpoints of artists, critics, and scholars, both supportive and critical, regarding technology’s role in art and its effects on the viewer’s experience. Virtual exhibitions and immersive art experiences represent an evolving landscape in the art world, offering opportunities for innovation and debate. Their impact on the perception and consumption of art remains a subject of ongoing discussion. The paper concludes with a review of successful virtual exhibitions, highlighting their role in expanding access to art and cultural experiences globally.

The article is devoted to the examination of phraseological units with author's transformations in the works of contemporary English writer J.K. Rowling. The study compares the approaches to defining the term "phraseological unit" by linguists A.V. Kunin, V.V. Vinogradov, V.M. Mokienko, and A. Naciscione, and describes a particular literary technique involving the transformation of familiar fixed expressions in artistic text. It presents the main types of changes in fixed expressions according to the typologies of leading phraselogists, including E.F. Arsentyeva, A.M. Melerovich, and V.M. Mokienko. The analysis investigates the methods and techniques of author's transformations of phraseological units J.K. Rowling's works and defines the role of contextual use of phraseological units in creating the writer's artistic world. The analysis is conducted based on original English texts from the Harry Potter series published between 1999 and 2003. A total of 76 phraseological units were analyzed, with author's transformation identified in relation to 33 idioms. The results of the study show that the transformation of phraseological units in J.K. Rowling's works is systematic, related to the plot and imagery structure of the text, enhancing expressiveness and individual authorial style. The writer employs a wide range of phraseological transformations, with examples of nearly all types of authorial transformations described in the typology of leading scholar from the Kazan Linguistic School, Professor E.F. Arsentyeva, and examples of idioms transformations described in the classification by A.M. Melerovich and V.M. Mokienko. The conducted research demonstrates the artistic value of J.K. Rowling's works for studying the diversity of author's transformations of phraseological units in the field of phraseology. Given that the novels of the English writer are popular among a wide audience, the material and results of this study may attract additional attention from students and serve as an illustrative basis for teaching English lexicology, phraseology, translation studies, and for courses in oral and written language practice.

This article studies reader’s experience of A. I. Solzhenitsyn a means of characterizing the consciousness and behavior of the characters in the story Cancer Ward. Different researchers have already paid attention to the role of a book, reading, and a person reading verbal and artistic texts in the artistic world (Don Quixote by Cervantes, Eugene Onegin by A. S. Pushkin, Poor Folk by F. M. Dostoevsky, Madame Bovary by G. Flaubert); however, these works were fragmentary. The relevant aspects of 20th century literature, including Solzhenitsyn’s texts, have been studied even less. The author of this article shows that the appeal to the reader’s experience of the characters is an essential facet of the objective world of the story Cancer Ward. The analysis focuses on the question how a book which has been read becomes a part of a character’s existential and cultural experience, evidence of either their insights, discoveries, or delusions, dead ends. The article substantiates the discussion of the book in the depiction of Solzhenitsyn’s characters from the point of view of cultural anthropology, which studies the relationship of a person with cultural tradition and society, and psychological — with its interest in forms of thinking and communication. Experiences in interpreting what Solzhenitsyn’s characters read are important not only for characterizing individual characters, but also for society as a whole. This article emphasizes that the cultural problems of the Soviet era were due to the “archaeological” type of hermeneutics, which alienated a person from the classical tradition, which is enduringly valuable for the self-determination of a person. There are two types of eventfulness in the narrative organization of the text: plot and existential. A special place in the overall picture belongs to a semi-autobiographical character — Oleg Kostoglotov, whose path from death to resurrection includes the experience of reading and comprehending reality through artistic and philosophical texts. The methodological foundation of the work includes the approaches developed by comparative literature, intertext theory, as well as anthropological, historical, and cultural studies.

The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.

The paper describes a programme of research and practice in which the evaluation of interactive artworks in a public space is undertaken as part of the creative process. It explores the different perspectives involved in the research process of Beta_Space, a public exhibition and evaluation facility in the Powerhouse Museum Sydney. The three viewpoints presented, of artist, evaluator and curator, add up to much more than each one can offer on its own. The three roles can be taken by one, two, three or more people in any particular case but teamwork across disciplines is strongly implied by the approach that we have described. The paper reflects upon the different concerns and approaches and the ways in which they are entwined.

Art is as vital to the surgical profession as science itself. Surgeons can nurture themselves with the sensitivity and creativity of the art world. The surgeon as an artist works in the human body with diligence and care. Without the daily benefit of artistic expression, the surgeon’s work would be incomplete. I would suggest, then, that clinical programs incorporate some art form in the training of future surgeons. The understanding of the human body, its forms, contours, and plasticity are critical to the student of surgery. The integration of human tissues, the disposition of internal organs, their constitution and reconstruction are basic to the practicing surgeon. The human body is also critical to the artist, so art can become a reality for both the surgeon and the artist. Art gives wholesomeness, understanding of esthetic functions, development of detail in the configuration of organs and tissues, and, most of all, appreciation of the human body within the context of the biological system. As art has advanced, surgery also has reached significant heights. Artists have conceived new forms and applications and surgeons have encountered new means for organ repair and disease treatment. The symbiotic relationship of art and surgery can propel both to new levels of professional excellence, where both disciplines can maximize the characterization of their expression. If art helps the surgeon improve technical skills, it would be reasonable to stimulate frequent communication between artists and surgeons. Could the surgeon’s technical skills be enhanced by the artistic experience? Or does the surgeon study and practice art to improve his conceptualization of the artistic form? Both questions can be answered truthfully in the affirmative: artistic experience will improve the surgeon’s perception of the surgical process and, of course, the study and practice of art will create an environment of attention to artistic detail that will potentially translate into better surgical technical results. The operating theater, the most sacred cathedral in the surgeon’s world, offers the perfect setting in which great events can unfold. Surgeon, patient, room, and circumstance occupy the evolution of the