Space and Theatre

This study uses data from the Korean Children and Youth Integrated 2018 provided by the Korea Youth Policy Research Institute, and the effect of cultural and artistic activities on the self-esteem and happiness of middle school students in the middle of adolescence. Is to find out. Therefore, it is to confirm the effect of cultural and artistic activities, which play an important role in the formation of emotions in adolescence, on the self-esteem and happiness of middle school students. The analyzed sample is the contents of the middle school student panel of the Korean Children and Youth Panel Survey 2018 responding to cultural and artistic activities, self-esteem, and feelings of happiness, and the exogenous variables of cultural and artistic activities were limited to music and art. Excluded. As for the analysis method, a model of the structural equation was established, and the causal relationship between culture and art activities, self-esteem, and happiness of middle school students was confirmed. The programs used for the analysis are SPSS and LESREL.
 As a result of the analysis, cultural and artistic activities of middle school students had a direct effect on self-esteem and happiness, and self-esteem was also related to happiness. However, contrary to expectations, cultural and artistic activities showed a negative effect in the path of happiness, and showed a positive effect through the mediation of self-esteem. These results suggest that middle school students need to discuss cultural and artistic activities in a variety of ways, and that participation in cultural and artistic activities should be activated for the development of healthy emotions in adolescence.

본 연구는 문화예술학습활동의 참여도가 개인의 삶의 만족도와 심리적 안녕감에 미치는 영향과 함께 자기효능감과 개방성의 조절효과를 확인하고자 하였다. 이를 위해 울산광역시 지역축제 참가자와 문화원문화교실 수강생 240명에게 설문자료를 배포하여 이 중 유효한 설문지 227부(94.6%)를 활용하였다. 연구문제로는 첫째, 문화예술학습활동을 관람활동과 체험활동으로 분류하여 삶의 만족도에 미치는 영향을 분 석하였으며, 둘째, 문화예술학습활동이 심리적 안녕감에 미치는 영향을 분석하였다. 마지막으로 이들의 관계에서 자기효능감과 개방성의 조절효과에 대해서 분석하였다. 연구 결과는 다음과 같다. 첫째, 문화예술학습활동 참여도는 개인의 삶의 만족도에 유의한 정(+)의 영향을 미치는 것으로 나타났다. 둘째, 문화예술학습활동의 참여도는 개인의 심리적 안녕감에도 유의한 정(+)의 영향을 미치는 것으로 나타난다. 셋째, 자기효능감과 개방성의 조절효과에 대한 분석결과를 살펴보면, 자기효능감은 문화예술학습활동과 삶의 만족도 및 심리적 안녕감 간의 관계에서 모두 조절효과가 발견되었으며, 개방성에 대한 조절효과는 문화예술학습활동과 심리적 안녕감 간의 관계에서만 발견되었다.

The purpose of the research is to analyse the experiences of meeting cultural education needs of students who had studied at universities of Lithuania and the United Kingdom. In the course of the study, the qualitative research has been conducted. The results of the research on students’ experiences in meeting their cultural education needs at Lithuanian universities have revealed that the students who had studied in Lithuania describe their cultural life as insufficient, poor; the reasons for the choice of cultural life are: the desire to do what they like, lack of time due to busyness, low finances. The study participants describe the supply of cultural education at Lithuanian universities as insufficient. They believe that Lithuanian universities need a greater variety of cultural education activities, more attention to artistic and other cultural activities as well as better communication and dissemination of information about the availability of cultural education activities. The results of the research on students’ experiences in meeting their needs of cultural education at universities of the United Kingdom have revealed that these participants describe their cultural life as active, driven by their living environment and desire to improve. Research participants, who had chosen cultural education activities, indicated this as an opportunity for self-expression, improvement of competences, acquisition of skills necessary for professional development, finding friends and like-minded people, an opportunity to look for a job, etc.

<i>Literary Bioethics: Animality, Disability, and the Human</i> by Maren Tova Linett

SummaryObjectivesTo investigate the association of participation in arts and cultural activities with health behaviours and mental well-being in low-income populations in London.Study designCross-sectional, community-based observational study.MethodsData were taken from the cross-sectional baseline survey of the Well London cluster randomized trial, conducted during 2008 in 40 of the most deprived census lower super output areas in London (selected using the English Indices of Multiple Deprivation). Multiple imputation was used to account for missing data in the Well London survey. Descriptive statistics and regression analyses were used to examine the association between participation in arts and cultural activities and physical activity (meeting target of five sessions of at least 30 min of moderate-intensity physical activity per week), healthy eating (meeting target of at least five portions of fruit or vegetables per day) and mental well-being (Hope Scale score; feeling anxious or depressed).ResultsThis study found that levels of arts and cultural engagement in low-income groups in London are >75%, but this is well below the national average for England. Individuals who were more socially disadvantaged (unemployed, living in rented social housing, low educational attainment, low disposable income) were less likely to participate in arts or cultural activities. Arts participation was strongly associated with healthy eating, physical activity and positive mental well-being, with no evidence of confounding by socio-economic or sociodemographic factors. Neither positive mental well-being nor social capital appeared to mediate the relationship between arts participation and health behaviours.ConclusionThis study suggests that arts and cultural activities are independently associated with health behaviours and mental well-being. Further qualitative and prospective intervention studies are needed to elucidate the nature of the relationship between health behaviours, mental well-being and arts participation. If arts activities are to be recommended for health improvement, social inequalities in access to arts and cultural activities must be addressed in order to prevent further reinforcement of health inequalities.

Medieval English Manuscripts:

Purpose: The purpose of this study was to determine the attitude of medical students of Babol University of Medical Sciences about cultural activities and their participation rate.Methods: This research is a descriptive-survey method. The statistical population of the present study included all medical students of Babol University of Medical Sciences in the academic year 2015-16. According to the data obtained from the university's statistics center, the statistical population is 1496 people. The sample is 310 people using the Morgan table. Sampling method is stratified random. Data collection tool is a researcher made questionnaire. To determine the initial reliability before the extensive implementation, the questionnaire was performed on 30 students of the colleges in a completely randomized way. The reliability of this study was 0.86 using Cronbach's alpha.Findings: There is a significant relationship between the age of medical students in cultural programs and their attitude about cultural programs. There is a significant difference between the gender of medical students in cultural programs and their attitude about cultural programs. There is a significant difference between the educational level in cultural programs and their attitude about cultural programs. Also, there was a significant difference between the level of participation and attitude of students towards cultural activities of students of Babol University of Medical Sciences.Conclusion: In a general summary of the results of the study, students have a positive view and a suitable approach to the cultural and artistic activities carried out at the university, which increases participation, creativity and spontaneity.&#x0D;

Introduction: Cross-Cultural Reading

Brazil is characterized by strong income inequality, which is naturally reflected in the consumption of goods and services. Such disparities in access are also reproduced in the artistic and cultural activities sector. Thus, understanding the cultural sector as key to the development of society, the present article evaluates the intersectoral impact of the artistic and cultural activities sector on other sectors of the Brazilian economy. First, this analysis identifies the effects of COVID-19, which allows us to determine how the sector is affected by such a shock in terms of output, employment and income. Subsequently, the relevance of the cultural sector is evaluated by identifying different family income groups with the 2015 input–output matrix published by the Brazilian Institute of Geography and Statistics (IBGE) and information from the Family Budget Survey (POF). The main results indicate that the COVID-19 pandemic, specifically, its effect on the cultural sector, reduced the production of cultural activities by 31.8%, equating to a loss of 237,701 jobs. This result indicates the relevance of the cultural sector for the Brazilian economy. In addition, we show that low income families, a group representing more than 70% of households, are responsible for only 28% of all Brazilian household consumption in the cultural sector. However, families in the highest income bracket, i.e. less than 3% of households, account for 22% of this sector. This result underscores the importance of developing public policies to stimulate consumption among low income groups, given that in addition to the cultural sector’s economic benefits, there are intangible benefits of cultural activity for society.

In his monograph Krleža’s Still And Moving Images, Prof. Dr. István Lukács, a Croatist and Slovenist living in Budapest presents the problem of intertextuality and intermediality in the work of the classic of Croatian literature, Miroslav Krleža from a comparative Hungarian cultural and literary point of view. In the first part of the monograph, through the analysis of concrete texts (several poems and the novel Flags), the author examines the problem of the reception of Ady's lyric poetry and Hungarian painting production (Dezső Orbán) at the beginning of the 20th century, while in the second, more extensive part, he scrutinizes Krleža's relationship to film. The author's thesis is that the new optical medium (film) played an important role in the formation of Krleža's early dramatic texts (Legends) at the beginning of the 20th century. These works were written in the writer's early youth, immediately after his return from Budapest, where he had studied at the military academy. The author rightly assumes and then proves in his monograph that Krleža was probably already familiar with silent film and Hungarian theoretical works on film at that time. Some authors have already published papers on Krleža's "sound film imaginings", but without a more detailed scholarly elaboration of the whole issue. The first expert to mention the possibility of applying the film technique to a stage production in his extensive essay on Krleža's early plays was Josip Bach, the director of the Drama theater in Zagreb, who refused to stage all of Krleža's plays. Bach's clear observation served as a suitable starting point for the monograph's author to analyse Krleža's Legends, not from the point of view of a possible theatrical staging, but from a possible cinematic inspiration, both in certain themes (Jesus, Salome, Christopher Columbus) as in the application of film poetry, especially in atypical stage directions. In recent decades, authors in contemporary literary theory on intermediality have often thematised the links between literary text and film, they analyse film adaptations of well-known literary works, and write about the filmicity, cinematic style and film poetry of specific literary works. According to the author's findings, all these stylistic elements are also found in Krleža's early works (Legends, symphonies), but the "cinematic language" is so distinctly present that it also structurally characterises these works. The author of the monograph uses the term kinotekst to refer to Krleža's particular stage directions and scenic solutions precisely because of the marking power of these elements. This literary-theoretical notion is an innovation that refers to certain parts of a concrete literary text, and is in fact perfectly adequate to the film cut. This means that certain segments in Krleža's literary text are a real film cut and function as such. It is a strange paradox, since literature is a verbal art and film is a visual art.

Since the emergence of the modern criticism theories, the aim of these theories was the focus on research and the analysis of literary texts scientifically and academically and according to specific data. The historical criticism theory is one of the first modern criticism theories adopted by many of pioneers of literature and has a group of scientific constituents that investigate the relationship between the text and its external aspects. Generally, there are three stages of criticism theories: the first stage deals with the external aspects of the text .For example writer's life, social situation, conditions and historical events. These external aspects are tools for structuralists and formalists. The second stage deals with the internal context of the literary text. This stage appeared at the beginning of the twentieth century as constructional criticism, modern criticism and structuralism. The last stage pays attention to the readers' role as semiology criticism, deconstruction criticism, reception theory …..etc. This theory is connected to external aspects of the text and it takes historical, political and social events as a means to analyze the literary text. According to this theory, the literary text is reflection of writer's life conditions and the writer is a mirror for the social situations predominant during his era and education emerges from environment which is a part of the history. Therefore, the theory of historical criticism in the process of criticism emphasizes the writer's life, predominant conditions and the environment that the literary text is their outcome. The present study focuses on two collections of poems, namely "The songs and Snow and Fire " by Muaaed Taeeb and "I will not retreat " by Rekesh Amedy . The two collections were analyzed according to the three bases of historical criticism (Time, Environment, and Race). The aim of this study is the explanation of the historical dimension of two collections of poems namely "The songs and Snow and Fire " by Muaaed Taeeb and "I will not retreat " by Rekesh Amedy . As a result of the analysis conducted on these two collections, it turned out that the historical criticism was one of the essential pillars of the creation of the theme and ideology of those poems.

I propose a methodology of literary study to be used in a wide range of disciplines and genres. While there have been numerous applications of postcolonial theory to the analysis of texts produced before, during, and after colonization, this transnational feminist methodology (TFM) is updated or reinvented to include discussions of the psychological and material ramifications of neocolonialism and neo-imperialism, especially about the immigrant experience—in particular, the perspective of children of immigrants living in diasporic communities. The work’s focus on postcolonial feminism is complicated by looking at gender, race, trans-nationality, and other identity factors that shape the work of writers of marginalized identities living in the Western world from an intersectional perspective.In this work I have identified a methodology that has been used but isn’t very well defined. TFM is still in the process of being theorized and continues to evolve as seen in mostly interdisciplinary feminist academic journals. It is currently a fluid theory and there hasn’t been a clear understanding of how TFM can be used in the study of literary and cultural texts. But now, looking back nearly twenty-five years later, it seems that TFM has mostly been taken up in social studies, especially women’s studies, and not as much in literary studies and cultural studies. It seems then, then the main divide in TFM approaches has to do with practical applications in the real world vs. theoretical application, as with the study of literary and cultural production, a divide I hope to problematize in this dissertation as not mutually exclusive. Yet the urgency of applying TFM to cultural productions and literary texts not only is useful but it’s important and becoming even more urgent the longer it takes to become canonized. We need to talk about how it can be applied and how it can be used and analyze how artists are actually using it both as driving the work of cultural producers but also in the analysis of cultural production. TFM can be a framework for interpreting artistic creations, but to do that, we need to delineate some of the basic principles of this emerging methodology. For example, in addition to form, many cultural producers/artists who use TFM in their work or whose work lends itself to TFM analysis engage with adaptation. Often, creators engage or talk back to the Western literary canon, as is the case in this dissertation with Forushande talking back to

Introduction and Objective. The studio movement in Kharkiv in the early twentieth century was an important prerequisite for the spread of innovative ideas that turned Kharkiv into one of the main centres of the Ukrainian avant-garde in the early twenties. The leader of this movement was the Kharkiv artist Yevhen Agafonov and the Blue Lily Studio (1907-1912) he founded. The purpose of the article is to clarify the membership of the Blue Lily Studio, to analyse in detail the types of its activities, to establish the relationship between its members, and to understand the significance of the studio. Methods. The study is based on the analysis of archival documents (correspondence, memoirs, etc.) and periodicals of Kharkiv in the first quarter of the twentieth century. Comparison and comparative analysis of the data allowed to reconstruct the evolution of the Blue Lily Studio, fill in factual gaps, and structure the activities of Yevhen Agafonov's studio by areas. Results. The article examines the prerequisites for the appearance of the studio movement in Kharkiv in the early twentieth century and analyses in detail the activities of the Blue Lily Studio. A significant array of documentary materials is introduced into scientific circulation, which allows to significantly expand the source base of the study of the studio movement and the Blue Lily Studio in particular. The study presents the most complete list of Blue Lily members to date, creating a panoramic picture of the studio itself and its artistic practices in the context of the Kharkiv studio movement. Founded by Kharkiv artist Yevhen Agafonov as a studio, Blue Lily quickly turned into an artistic association, as its members were not only engaged in painting and drawing, but also in various artistic and cultural activities. The studio members participated in exhibitions and published a literary and artistic almanac "Blue Lily" (1911), which contained literary works and reproductions of works by the studio members. The almanac reflected the studio's engraving activities and contained the first known publication of works by the Ukrainian avant-garde artist Maria Synyakova-Urechyna. The studio became also involved in theatre, as Yevhen Agafonov was the set decorator of the first cabaret theatre in Kharkiv, the Blue Eye, and the theatre decorations for the performances of this theatre were made in the Blue Lily Studio. In parallel with the Blue Eye Theatre, the studio members had their own amateur theatre, where they performed their own plays. Despite the Blue Lily's stylistic affiliation to Art Nouveau (German: Jugendstil), the studio also has features of the avant-garde as a network, as it combined artistic, exhibition, literary and theatrical activities and became the first association on the Ukrainian territory of the former Russian Empire to feature such a synthesis of the arts. After the closure of the Blue Lily Studio, its members created the Thistle Studio, from which a left-wing group split off in 1914 and opened its own Nakos-Vykus Studio of Sosvetor Futurists. The First World War interrupted the vibrant and fruitful studio life in Kharkiv. Conclusions. Ukrainian cultural processes in Kharkiv in the early twentieth century appear as a product of the activities of local cultural figures who relied on local traditions and were oriented towards European ideas, methods, and practices. The Blue Lily Studio combined different types of artistic activity and had features of the avant-garde as a network, becoming the first such association in Ukraine in the early twentieth century. For further research, it is important to fit the activities of the Blue Lily Studio into the European cultural process and clearly define both its European features and Ukrainian national characteristics.

Cultural tourism is critical to the growth of destinations all over the world. Cultural activities and events, as well as existing local historical and cultural assets or cultural capital, shopping, and event attractions, are all believed to play a key role in the nations' cultural and economic development. In the Nepalese context, cultural tourism is widely discussed for the potential development of local and indegenous communities. Thus, the research aims to identify Newari Community’s attitude toward promoting cultural tourism development in Kathmandu Valley. Newari community people from Kathmandu valley were taken as a population, a total of 280 individuals were taken as a sample, and data were collected using a structured questionnaire. The attitude level of Newari people was measured using the attitude index. The Ordered Logistic Model was used to test the factors determining the Newari community's attitude towards promoting cultural tourism development. The result revealed that the Newari community is highly aware of cultural tourism development. Further, regression result shows that monthly income, employment opportunities, a wide variety of cultural activities, developed partnership, pride of local residents, sufficient information, cost of living, a problem with parking or traffic, and household employed in art and cultural activities statistically influence attitude level of Newari community to promote cultural tourism development. Hence, the Newari community should focus on promoting cultural tourism development through conservation, protection, and development of cultural management.

The methodological basis of this article is literary pragmatics, which considers a literary text as a gesture within author’s artistic action. This methodology seems to be the most adequate for the analysis of Vsevolod Nekrasov’s poetry, since traditional methods of analysis are of little use to the nonconformist work of the author, and since Nekrasov himself repeatedly emphasized the understanding of art as an event. Being in dialogue with the modernist (and more narrowly avant-garde) tradition, which actively comprehended the pragmatic dimension of texts, Nekrasov develops his own model of pragmatics. The socio-cultural context of the Thaw actualized two principles that paradoxically combined in Nekrasov’s work - lyricism and parody. On the one hand, the poet aims to find a space for free and lyrical utterance. On the other hand, parody actualized the analytical principle, since the comic ridicule of normative texts mediated the understanding of language as a social practice, and thereby revealed ideological implicatures in it, calling into question the claims of language to be “natural”. At the same time, acquaintance with the members of the Lianozovo group, which existed outside not only official, but also any other social institutions, determined Nekrasov’s refusal to look at the artist as a demiurge who anticipates new forms of life with his works. On the contrary, Nekrasov’s texts, if understood as artistic gestures, are democratic in nature, since their pragmatic function is both to liberate certain areas of language from the discourse of power, and to potentially dismantle the social hierarchies that serve art and/or life. Thus, Nekrasov manages to purge the pragmatics of the avant-garde and avoid the authoritarian bias, which is typical for this tradition.