“Вірш має полонити”: про суворі сонети неокласиків у контексті тоталітарного режиму

The purpose of the study is to reconsider the “strict style” beyond the narrative of the “Soviet art” and to identify those characteristics that allowed individual artists from Ukraine, Estonia, Latvia, and Armenia to return to the national artistic tradition and find their own creative language that did not coincide with the values of the totalitarian system. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (philosophy, history) to identify the innovative features of the “strict style” as the first important step for the emergence of the art of the “dissenters”. The comparative method is used to identify the differences in regional manifestations of the “strict style” based on the national artistic traditions of Ukraine, Estonia, Latvia, and Armenia. The systematic-analytical method is used to highlight the influence of the Khrushchev Thaw on the formation of new worldview values among the creative youth of the post-war period of the 1946s-1955s. The scientific novelty of the study is to identify the plot, plastic, and compositional characteristics of the “strict style” that became the reason for some national artists to search for national artistic traditions and interpret them using their own experience and artistic and figurative language. Conclusions. When comprehending the significance of the “strict style”, one should note its importance for the beginnings of the revival of Ukraine's artistic traditions, which soon led to the emergence of “unofficial” art. While its founders, Russian artists, sought to convey the feat of labour of the Soviet man, our individual artists were able to demonstrate the difficult fates and tragedies of their own people (I.-V. Zadorozhnyi), moreover, using the techniques and imagery of avant-garde artists in their artistic language. The national artistic experience of the 1920s and early 1930s prompted them to revive and rethink their own heritage. The subjects, techniques of transmission, and compositional features were similar among the representatives of the “strict style”, but the peculiar artistic thinking based on the worldview of their people made some national artists, as well as their colleagues from Estonia, Latvia, and Armenia, interpret the reality of their countrymen differently.

The object. The article analyzes the specifi cs of the perception of ancient motifs and images in the literary heritage of Ukrainian neoclassicists of the early 20th century, in particular M. Zerov and M. Rylsky. The poetry of Neo-Classicism representatives is considered in cultural and literary aspects. The subject of this study is symbols transformation as the mechanisms of «culture’s memory» and semiotic capacitors in the text synchrony. Conclusion. The works of Ukrainian neoclassicists as the representatives of the era of «Executed Renaissance» have left an invaluable heritage. The poetry of neoclassicists is the result of the interaction of traditions and innovations, national tendencies with the borrowed and transformed experience of an ancient text perception in the world literature. Finding. The article proves that in spite of the common for neoclassicists attraction to kalokagathia as an aesthetic ideal of an ancient culture, which included the harmony of senses of a rational sphere, physical and spiritual roots, high culture of thinking and the discipline of poetic speech, the aesthetic platform of Zerov and Rylsky does not come down to the principles of «pure classicism», the interpretation of classical forms and principles as universal and unchanging norms.

Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.

This essay treats the understanding of poetry, especially lyric poetry, as representation. The theme is developed partly as a historical survey, from the Classical Age to Romanticism and to Modernism, and through the history of aesthetics in Western terms. It offers critical scrutiny with the intention to explore a more justifiable theory of representation. Hopefully it may help to understand lyric poetry in historical contexts from Plato and Aristotle’s imitation theories, to Beardsley’s theory of illocutionary action and New Criticism. It is the image in lyric poetry that accounts for human action’s being represented. Poetic beauty is an illusionary reality, as that in painting, and the role of image has been widely appreciated in producing this beauty as verbal icon. Finally, I mention the connection between Western theorizing of poetry as representation and Chinese poetry and poetics in general. We see the possibility that the importance of lyric poetry as representation can encourage comparative literature and world literature, and a general theory of representation. These might be informative in Chinese literary studies, from a theoretical point of view.

. The article first describes the features of poetic translations, which were made in the early twentieth century by the representatives of the Ukrainian school of neoclassicists. The most favorite poetic genres of M. Zerov and M. Rylsky are determined. The purpose of the study is to analyze Ukrainian-language poetic translations that have reached antiquity, but have not lost their relevance today. Materials and methods of research . The analysis, synthesis and comparison as components of general scientific methods and linguistic ones in combination with historical and culturological approaches are used in this work. Discussion . Sonnet became a universal genre for Ukrainian neoclassicists, combining strict style and strict form. It was not only an inner need, but also a vital necessity. "Severeness" can be understood as the antithesis of the disintegration of the form that prevailed at the time in the so-called proletarian culture. Conclusions . The genre of the sonnet became universal for Ukrainian neoclassicists, as they turned to it in order to demonstrate the uniqueness and inaccessibility of Hellenic artists and at the same time emphasize that the sonnet is an echo of antiquity and can connect modern literature with the classics.

. The study is based on the analysis of the genre canon of the sonnet through the prism of reading the events of the 20-33s of the twentieth century, which demonstrates the scale and unusual perception of ancient heritage in the works of M. Rylsky and M. Zerov. The aim of the research is to present a new reading of refined and strict style in Ukrainian literature through the prism of the creative genius of Ukrainian neoclassicists of the first third of the last century. Materials and methods of research. Historical and culturological approaches are used in the work to understand the depth of artistic thinking and literary heritage of the Ukrainian neoclassical school. The sonnets by M. Rylsky and M. Zerov differ. Rylsky allowed deviations from the metric tone, rhyming is not always canonical. The works of M. Zerov mostly need at least a brief explanation of historical and cultural realities, names, because they are less related to modernity than Rylsky’s sonnets. They echo more with antiquity. M. Rylsky, dedicating a poem to M. Zerov, did not follow his translational style; he was not a strict copyist of ancient standards, but became a real innovator, who created unique and yet very simple, natural, transparent forms based on ancient, Ukrainian and Russian classical themes. The genre canon of the sonnet implies conceptuality. Іt is a balance between the stable and the variable, a dialogue with yourself, with the world; this is the beauty of dramatic trembles of poetic content. Finally, this is a distinctive stylistic thinking which attracts primarily the poets of the rationalist mindset.

Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects

Educators are expected to be able to guide their students to become individuals who are not only intellectually intelligent but also emotionally and spiritually intelligent. This research aims to describe teachers as role models in fostering students' spiritual and social attitudes. The research method used is descriptive qualitative research. The research participants are 10 teachers and 5 students at SMPIT Al-Mufid. The data shows that teachers, as role models, play a crucial role in shaping students' spiritual and social attitudes, including: (1) teachers as role models in teaching; (2) teachers as role models in discipline; (3) teachers as role models in cleanliness; (4) teachers as role models in worship and prayer. The research findings can serve as information for the development of the teacher's role as a role model in shaping students' attitudes in school. Keywords: Role Model, Spiritual Attitude, Social Attitude

The elderly naturally experience a decrease in physical and psychological function so that it affects individuals in their daily activities. Self-efficacy is the ability to carry out a series of actions to provide life satisfaction for the elderly who sleep in the sand. Role models can provide role models for the elderly in doing activities to sleep in the sand where family support can influence the behavior of the elderly sleeping in the sand in the coastal elderly. The research method is descriptive-analytic with a cross-sectional approach. The population of this study were all the elderly who lived in the village, Village, Pasir Lenggung Batang Batang -District, Sumenep Regency as many as 124 elderly. The sampling technique used is purposive sampling. The analysis used is the test Spearman rank. The results of this study stated that most of the respondents had role models in the high category as many as 57.5% coastal elderly, respondents had family support in the medium category as many as 72.5% coastal elderly, and respondents had self-efficacy sleeping in the sand in the capable category as many as 72, 5% of coastal elderly. There is a relationship between the role model and the self-efficacy of sleeping in the sand in the coastal elderly and there is a relationship between family support and the self-efficacy of sleeping in the sand in the coastal elderly. Role models can be role models and motivations for the coastal elderly to sleep in the sand. When the role model is good, self-efficacy will increase, with that the ability of the elderly to carry out activities in the sand is better as well as the higher family support, the higher self-efficacy the elderly

Problem statement. The relevance of the subject is due to the fact that the renaissance process of Huang Ji’s personality and body of work began in the 1990’s when the effects of the false assessment of the music activity of the Chinese composer as a traitor of national interests formed during the “cultural revolution” were eliminated. The aim of the article is to provide a genre and style analysis of Huang Ji’s instrumental works, appraising their significance in the context of the development of the national music culture of China of the future. Research methodology is based on the method of historicism, axiological and musicological and analytical approaches, and genre and style analysis. Results. The modern interpretation of Huang Ji’s creative personality as the founder of Chinese music culture, based on the introduction of the principles of European professional traditions into the national art, requires an analytical study of the entire building of the works of the composer, in particular, instrumental (symphonic ouverture «In memoriam», orchestral play «Fantastic city», polyphonic piano works Prelude «Subject from Bach», «Two two-part inventions», three fugues in the strict style), which have remained until now outside the interests of Chinese musicologists, who traditionally pay more attention to the vocal creative work of the founder of the national classics of the twentieth century. The study of Huang Ji’s symphony and piano pieces, written during his traineeship at the School of Music in Oberlin (second half of the 1920’s), has made it possible to appraise the historical significance of the Chinese composer as the founder of national instrumental art, Europeanized in origin, based on mastering the classical genres, forms, themes and foundations of composer’s technique. Novelty. An attempt is made at identifying the genre and style features of Huang Ji’s instrumental body of work, based on the traditions of European professionalism, in the fields of symphonic and piano music. The practical significance. The research has important implications for studying the significance Huang Ji’s instrumental body of work in the context of the development of the national music culture of China of the future.

“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.

This article presents the results of a study of the Mari numeral phrases in terms of the influence of the Russian language. The aim of this work is to trace the role of Russian borrowings in the formation of Mari numeral phrases, primarily in the expression of their components, and to reveal other changes that have arisen under the influence of similar phrases and structures of the Russian language. The study was conducted on the basis of the lexical card index of the MarNIIYALI (Mari Scientific Research Institute of Language, Literature and History), which is based on written sources of the meadow-eastern literary norm, namely, its electronic part in the amount of about one thousand author's sheets. During the collection and analysis of material, elements and techniques of the following research methods were applied: descriptive and analytical (observation with the identification of the studied facts in sources, their generalization, interpretation and classification, description), comparative (regular comparison of Mari models with Russian ones for identity and non-identity), comparative-historical (in other cases, indications of the origin of the words), quantitative (counting models of various groups containing Russianisms). According to the results of the research, Russian borrowings may play a role of a head word (3 units in 4 models) and a dependent component (mainly substantive case forms and postpositional constructions, numerals, as well as some pronouns and adverbs of degree in 14 models). 3 models with cardinal numbers as a head very rarely can be represented by phrases with Russianisms in both components. As a result the syntactic units in some models and the models of numeral phrases themselves were replenished, the last ones by 3 units. Also the shifts in the forms of grammatical number of dependent nouns in some models appeared.

Introduction. The subjective well-being of students is an important factor affecting academic achievements and professional development. The number of Chinese students studying in Russia is already quite large, and there is a potential for growing cooperation between our countries. Therefore, the study of the subjective well-being of Chinese students in their comparison with Russian students is relevant not only from an academic point of view (as a cross-cultural study of the globalising world), but also from a practical point of view.Aim. The aim of the present research is to theoretically and empirically study the subjective well-being in general and its individual components among Chinese students getting higher education in Russia, in comparison with Russian students there.Methodology and research methods. The methodological principles of the study are activity-based and subject-activity approaches, as well as the principles of consistency and system analysis. The theoretical study was conducted using the bibliographic method. The empirical study used the testing method and methods of statistical data processing.An empirical study was conducted on 392 students of the RUDN. The following psychodiagnostic methods were applied in the study: “Scale of Subjective Well-Being” by A. Perue-Badu (adaptation by M. V. Sokolova), “Questionnaire of Self-Attitude” (V. V. Stolin, S. R. Pantileev), “Oxford Happiness Questionnaire”, “Subjective Assessment of Appearance” (V. A. Labunskaya, E. V. Belugina), and “Scale of Basic Beliefs” by R. Yanov-Bulman (adaptation by O. Kravtsova). The statistical Mann-Whitney U criterion was used for the calculations. The calculations were performed using the IBM SPSS Statistics 23 program.Scientific novelty and results. The scientific novelty and the most significant research results consist in identifying the features of subjective well-being and related personal characteristics of Chinese students studying at Russian universities, in comparison with Russian students there. It was found that most of the indicators of subjective well-being of Chinese students are at a lower level than those of Russian ones. The exception is the parameters “psychoemotional state” and “tension and sensitivity”, for which Chinese students show better scores.Practical significance. The practical significance of this work is that the authors developed the recommendations aimed to improving the indicators of the subjective well-being of Russian and Chinese students studying in Russian universities.

The aim of the article is to study the formation and further evolution of Mykola Kostomarov’s historiosophical views on Ukrainian history, to determine the essence of his historiosophical concept. Research methods are historiosophical analysis and synthesis. Sources of the article: autobiographical, scientific, journalistic, polemical and historical works of M. I. Kostomarov, archival materials, the latest works of modern historians. The main results: the author analyzes the historiosophical heritage of the thinker from the first half of the 1840s to the mid of the 1880s. The article proves that in the second dissertation M. I. Kostomarov approved his credo as a historian of the romantic and patriotic trend, put the past of the people in the context of their linguistic and cultural heritage, their consciousness, spiritual, historical and social life. It is emphasized that romantic and patriotic ideas led the intellectual to comprehending the national character and the national ideal and to understanding the national idea as a core in the historical process. It is shown that in the mid-1840s Kostomarov’s historiosophical views were based on the ideas of Ukrainian patriotism, historical romanticism, Christocentrism, utopian socialism, messianism, republicanism, Cossack and Slavic love. During the period of activity of the Cyril and Methodius Society, the thinker went beyond national culture and joined the socio-political issues. M. I. Kostomarov was aware of the past and present of the Ukrainian people through the prism of democracy and freedom, and he represented the future of Ukraine in the democratic federation of sovereign Slavic peoples. After the defeat of the Cyril and Methodius Society, his arrest, imprisonment and exile, the scholar continued to assert the Ukrainian national principle in history, which he opposed to autocratic despotism. In the early 1860s the thinker outlined the concept of the Rus people, which was embodied in two nationalities. This was the evidence of double loyalty phenomenon and identity in his self-consciousness. At the same time, he did not think about the present and historical future of Ukraine outside the empire, although he advocated the preservation of Ukrainian ethnocultural identity, emphasizing the manifestations of the federalist principle in the past. With the rise of Russification and conservative-protective tendencies in the domestic policy of the tsarist regime, he was forced to make significant concessions, speaking of the necessity for “close merging and interaction” of the Ukrainian and Russian nationalities. However, the Ukrainian figure did not betray the idea of national and cultural revival of Ukrainians. Brief conclusions. In essence, Kostomarov’s historiosophical conception represented a synthesis of the ideas of historical romanticism, Ukrainian patriotism, and Christian values, and it was patriotic, federalist, dualistic in the sense of national consciousness and identity. However, it contributed to the ideological separation of the Ukrainian historical process from the Polish and Russian ones in time and space. The practical significance of the article: it can be of interest to historians, young scientists and students in the process of studying Ukrainian historiosophy. The originality of the article is in understanding the insufficiently studied aspects of the intellectual heritage of M. I. Kostomarov. Scientific novelty: the original interpretation of the formation and evolution of historiosophical ideas of M. I. Kostomarov. Article type: analytical.

This research is entitled "the role of the teacher as a role model according to the Albert Bandura concept in implementing the 2013 curriculum" while the problem in this study is how the role of the teacher as a role model according to the Albert Bandura concept in implementing the 2013 curriculum and the Albert Bandura concept of the teacher as a role model in implementing curriculum 2013. in this study the author uses the method of Library Research and Fild research and in accordance with the topic of this discussion, the Al-Quran and a number of books related to the role of teachers as role models according to Albert Bandura in implementing The 2013 curriculum, scientific writings and other literature related to the role of teachers as role models according to Albert Bandura in implementing the 2013 curriculum. The importance of the role of teachers as role models for students is related to character personalities to help build the character of students. Character education can be implemented through existing programs in schools, such as integrating character education in learning and implementing character education through extracurricular activities. In this case, the role of the teacher is not only to educate students according to the demands of the curriculum, but also to personally provide an example to students by becoming a role model of individual characters. Teachers who become role models will be able to show attitudes and behaviors that are in accordance with the values ​​and norms in everyday life so that students can see and imitate them. The role of teachers as individual character role models will support character education programs and help students to have good character personalities.