Authenticity: A Concept Analysis

The article analyzes the concept of "father" in the works of M. Auezov. The analysis of the concept of "father" in the fiction text allows us to identify manifestations of the author's position. The study comprehensively examines the concept of concept in a work of art. The purpose of the article is to identify the author's definition and socio-cultural aspect of the concept of "father" in the stories of M. Auezov. The main areas of research are determined by the concepts of literary criticism and concepts. The scientific and practical significance of the article is reflected in the definition of the concept of "father" as an author's concept and its analysis based on the works of M.Auezov. The study used the methods of descriptive, narrative, contextual and interpretative analysis. According to the results of the study, analyzing the stories of M. Auezov, it was determined that the image of "father" is a representation of the concept of "father". At the same time, the presentation of the artistic image of "father" through dialogue, its embodiment through compositional images are associated with the presentation of the concept of "father" within the framework of the author's position. Artistic concepts are divided into general artistic and author's. The author's concept is the result of the writer's artistic world. Accordingly, the concept of "father" plays various roles in the works of M. Auezov, defining its socio-cultural aspect. The value of the article lies in the analysis of the image of "father", which underlies significant problems of Kazakhstani society. The conflicts of father and son depicted in the works of M. Auezov are a reflection of the conflict of the old and the new. The practical significance of the article is determined by the analysis of the concept of "father" as an author's concept in a work of art.

Introduction. The presence of controversial issues and discussions on accounting of non-current assets amortization and depreciationsuggest the relevance of topic of the research. Among these problems we can determine the definition of the economic essence of depreciation in the current economic conditions, the issue of harmonization of tax and accounting amortization and depreciation, the choice of the optimal useful life of fixed assets and setting residual value, if amortization can be considered as a financial source of processes in renovation of non-current assets etc. Purpose. The article aims to investigate the basic approaches of scientists to the interpretation of economic essence of depreciation, to develop the recommendations for clarifying its nature at the present stage of economic development, to examine the actual state of depreciation accounting of non-current assets, which are received free of charge, and solve its feasibility. Method (methodology). A historical method has been applied to investigate and ascertain the economic essence, formation and evolution of amortization category within accounting. Theoretical methods of cognition (abstraction and generalization, analysis and synthesis, induction and deduction and other methods producing the conceptual knowledge) have been used for the synthesis of theoretical and methodological principles in accounting of non-current assets depreciation. For analytical research the methods of tabular presentation and comparison of information have been applied. The works of domestic and foreign scientists and economists on problems of calculation and display of non-current assets depreciation in accounting, regulatory and legislative acts of Ukraine controlling the scope of accounting and financial reporting of enterprises are the methodological basis of the study. Results. In the article the author's definition of the term "depreciation" has been proved. The disagreement with the interpretation of depreciation as a way to accumulate funds for the reproduction of non-current assets has been advanced. The problem of depreciation of non-current assets obtained by the enterprise free of charge has been considered.

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Authenticity has always been an essential qualifying criterion for the inclusion of sites on the World Heritage List. Nonetheless, it might arguably be considered as one of the most slippery concepts in heritage conservation. This is testified by the numerous debates on this concept and its changing definitions and guidelines adopted by the World Heritage Committee up until the 1990s. This is also reflected in the profuse academic research in the 1990s, triggered in particular by the 1994 Nara Conference on Authenticity. Since then, reflections on authenticity have faded away in the academic sphere and at the intergovernmental level of the World Heritage Committee. However, numerous fundamental questions related to this concept remain: How have States Parties understood the concept of authenticity, and explained and represented it in their nomination dossiers of sites submitted for inclusion on the World Heritage List? Can different definitions of authenticity be detected according to the geographical location of nominated sites? What happened from 1994 onward? Can changes be detected in the way in which States Parties defined authenticity? Did they integrate the Nara Document on Authenticity in their explanation and representation of authenticity in nomination dossiers? If so, how?

This panel approaches the problem of authenticity as the concept is evolving through technological practices. Most debates surrounding this evolution have proceeded from a naturalized definition of authenticity. This definition is largely founded on the printed word tradition and the principle that faithfulness to the written word is paramount, while stylistic modifications to the form of documents are acceptable.This naturalized definition can be problematized using two different axes: (1) from textual to non‐textual (e.g., audio‐visual) documents; (2) from paper to electronic media. In the first case, there are no general and stable conventions for distinguishing content from its formal manifestation. In the second case, the only stable measure of authenticity, that of bitwise integrity, (a) is too restrictive to deal with the inevitable logical format migrations that must occur for digital media to remain accessible; and (b) does not measure how the rendering process of the bitstream (e.g., on screen, on paper) conforms to the content of the document.The papers in this panel will explore how new electronic documentary practices challenge the naturalized definition of authenticity, and chart how concepts of authenticity evolve in conjunction with such practices. The papers will suggest how new rules and conventions for defining authenticity may emerge in given areas of documentary practices — digitized medieval manuscripts, electronic contracts, XML‐encoded documents — or from multidisciplinary research efforts.