Regional trends in the formation of the national school of Finnish design

The focus of this article is on parents’ experiences with and perceptions of their children’s religious education (RE). The data consist of letters from 41 parents of Finnish Orthodox children and youth. In the letters, the parents describe their understanding of minority religious upbringing and how it is affected by different factors like RE. RE is a mandatory subject in Finnish schools, and it is taught in groups consisting of children with the same religious backgrounds. The main questions in this article are (1) how do the parents view the arrangements for Orthodox RE to make their children’s minority religious affiliation visible at school, and (2) what is the effect of RE on the formation of their children’s minority identity? The analyses show that parents perceive RE as an important factor in their children’s identity formation. Despite the sometimes inadequate arrangements for Orthodox RE in school, the parents are mostly happy with the subject and with their children’s RE teachers. RE makes the minority religious affiliation of Orthodox children both visible and invisible: their difference from the majority is exposed, but minority RE classes often take place outside of regular school hours and even outside of school premises.

364 Book Revkws "prudent" abridgment of tie Conversations (Fiükr αÎμίÎμίÎμα references to Goetiie 's scientific expertoÂœnts), shÎμ sÎμÎμms to takÎμ her advocacy a Uttlc too far. Several of the articles in the coUection are quite informative—tadudtag Joan von Mehren's biographical sketch, Urbanski's study of FuUer's rhetoric, and Judith Strong Albert's discussion of FuUer's impact on me feminist movement. A weakness of the book, howev8r, is that it lacks an introduction. The book begins widi a personal letter (May 18, 1980) to the editor (Urbanski) from R. Buckmtoster FuUer, who at mat time was Margaret's oldest Uvtog relative. The kner canvasses a number of topics, including his theories of education, Margaret FuUcr scholarship, and the synerçetic operations of the ιιηίνÎμΓβÎμ. Stoce the letter does not address any of the essays to the volume, one may be left confused about die book's purpose. Although the contributors write short, highly personal accounts of how Margaret FuUer tofhenced thek lives or scholarship, the book would have benefited from a discussion of its intended place to FuUer scholarship or from an explanation for the choice of die particular sckctions to this volume. University of Minois at Chicago Astrida Orle Tantillo James M. McGlathery, Grimms' Fairy Tales: A History of Criticism on a Popular Classic. Columbia, South Carolina: Camden House, 1993Given the Ï• ητηÎμηβÎμ amount of important, ^w, and often contradictory scholarship published on the Grimms' Kinder- und Hausmärchen during the last twenty-frve years, James McGlathery's comprehensive study of the most significant critical works about this "popular classic" can sene both scholar and student as a handy gukk to the different approaches to the tales. Moreover, McGlathery deals not only with tie more recent criticism but also discusses die historical origins of folktale scholarship to the nineteenth century and covers relevant research to four different languages. McGlathery himself has written extensrrely on the Grimms' taks and favors a psychoanalytic and Uterary approach to the tales that explores thek immanent nreantogs to thematic dusters. Î¥ÎμΕ , ΙιÎμ is, for ΟίÎμ most part, judicious in his summaries of interpretative methods that differ from his own. As he states, his aim was to "tadude sufficient breadth and depth to give a good accounting and rep- Κ5ÎμηΕ 3ίίνÎμ picture of the various types of scholarship and commentary and an outline of thek development.... The purpose of an account such as this mUitates against fiükr exposition of given critical positions, instead, the aim has ΰÎμÎμη to fit ΟίÎμ work of particular individuals into the context of the whole without misrepresenting them" (3). To accomplish his task, McGlathery divides his book into ΰιτÎμÎμ parts: 1) The Folktales; 2) The Grimms' Collection; 3) individual Stories and Motifs. In the first section, McGlathery begins with a historical survey of the development of folktale scholarship. After briefly discussing the work of the Grimms themselves and Theodor Benfey, he explains how scholars sought to explain the origins of folk taks through notions of monogc^sis and polygenesis. By the bÎμgtontog of the twentieth century, however, the shift to folktak studies was influenced by the Finnish or historical-geographical school led by Antti Aarne and carried on by Stith Thompson in America. As McGlathery explatas, this school of thought in- Goethe Yearbook 365 ίÎμ^Îμα to "show which tale types were native to, or predominated to, a given area, so that a particular story might be claimed as belonging Îμβϕ Îμα3% to a particular national culture.... Or, to a comparative way, differences to versions between geographical areas could be βÎμÎμη as helping to αÎμίΕ ηÎμ cultural differences betwÎμÎμn nations" (9). This approach led to the valuable index, Verzeichnis der Märchentypen (1911) and Thompson's Narrative Motif-Analysis (1955). McGlathery succinctly sums up the Finnish School's accomplishments and alludes to oder important encyclopedic work such as Handwörterbuch des deutschen Märchens (1930-40) and die ongoing Enzyklopädie des Märchens (begun to 1975). Then he turns to otiier important scholars and tiiek distinctive approaches to the Grimms' tales and folktales in general. After a brief discussion of the rise of the Freudian approach, he comments on the work of German Uterary scholars who were interested to questions of genre, including Friedrich Panzer, Albert...

While international schools aim to produce global citizens, national schools seek to create national citizens and integrate immigrants into the national whole. When these aims are combined within a municipal international school, the result is at times contradictory. This article considers the everyday experiences of 9-year-old children in a Finnish municipal international school. It investigates how a school that aims to be both international and national creates distinctions between pupils and how such distinctions affect pupils’ everyday practices. Two distinctive processes are analysed: how compulsory religion lessons and Christian events create distinctions between pupils, and how children’s Finnish skills affect both their interactions and the practices within the school. The article presents the argument that children also use these distinction mechanisms in their everyday lives and that even though the school is an international one, the Finnish-speaking Christian child is still considered the norm, and the international child – the foreigner – the ‘other.’ Finnish international schools can be seen as a magnifying glass with which to illuminate processes taking place in ‘regular’ Finnish schools, since the international school context intensifies these. The article is based on extensive ethnographic research at a municipal international school in a Finnish town.

The study of the anthem in forging national identity is a contemporary view, which allows us to consider the anthem as a historical source, which reflects both the historical memory and the national identity of the people. The song Tugan tel, which was first performed in 1909, is passed on by Tatars from generation to generation as a folk tradition, as the symbol of national unity, thanks to which is perceived by the people as an anthem. This song brings together Tatars scattered around the world, helping each of them to feel a sense of ownership of the national origins, language and culture. In Soviet times, when national schools were closed, at various events of the Tatar public Tugan tel sang chorus as a protest against the national policy of the center. This song, which talks about the huge role and importance of the Tatar language in the preservation of national culture, has become particularly relevant and acute in connection with the socio-political events that took place in the second half of 2017 in the Republic of Tatarstan on the teaching of the Tatar language in schools. Since art is inextricably connected with a context of historical, social, political, and moral conditions, approaching these issues will be the subject of our discourse. We are also trying to answer the question of how historical memory, national identity, politics and music are related.

Analyzing the co-reporting of the concepts music - identity, music seems to be one of the key elements of identity, because it off ers a perception of the self, but also of the collectivity. Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the XIX century. Th us, in the context of the national movements from the end of the XIX century, new national schools appeared. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in Eastern Europe states, where the academic musical culture was at a relatively young stage. In these conditions, the affi rmation of identity in national musical cultures, in East and Central European professional composition, consolidated the formation of compositional schools that were based on the principles of exploring the traditions of popular art, the uniqueness and specifi c local-regional individuality, in order to affi rm national music and to create cult music.

The Finnish national school curriculum, effective from 2004, does not include any topics related to Computer Science (CS). To alleviate the problem that school students are not able to study CS-related topics, the Department of Computer Science at the University of Helsinki prepared a completely online course that is open to pupils and students in all schools in Finland. The course is a Massive Open Online Course (MOOC), as the attendance scales without an upper bound. Schools in Finland have offered the MOOC as an elective CS course for their students and granted formal school credits for completing (parts of) it. Since our MOOC is exactly the same programming course as our university-level CS1 course, we are able to use the MOOC also as a long-lasting entrance exam to the CS BSc and MSc degrees. After two spring semesters of operation, we have observed that there are school students dispersed around Finland who are ready and willing to take on a challenging programming course online, and bridging the MOOC to a full study right makes a strong incentive to keep working on the programming assignments, even without traditional teaching.

The article examines the problem of the functioning of the Ukrainian ethnocultural tradition in the context of modern challenges and threats. Emphasis is placed on the need to preserve the national cultural heritage of Ukrainians and the role of cultural and spiritual priorities that form a full-fledged socio-cultural environment and values of the younger generation. The peculiarities of the creation of cultural space in Ukraine and the forms of existence of Ukrainian folklore in the socio-cultural environment are considered, taking into account the challenges and threats of the modern world. The essence of folk traditions and customs as spheres of cultural and spiritual heritage, which influence the communicative organization of people with certain life values, is substantiated. The article considers the essence of the Ukrainian ethnocultural space as an object of Ukrainian studies. It has been proved that ethnoculture is an important factor in the unity of a nation and is an indicator of ethnic and national identity among other peoples, as well as one of the factors of the revival and preservation of national memory. It should be noted that such categories as ethnicity, mentality, national traditions, customs, cultural and ideological components play a significant role in the content of national memory. Folk traditional culture is also a socio-cultural segment of national memory, which potentially helps to consolidate Ukrainian society. It is revealed that Ukrainian culture has long been leveled, censored, ideologically pressured, and destroyed, especially during the Soviet era, but despite the difficulties. Now it is a national and cultural revival of Ukrainian ethnocultural heritage, which is a priority for preserving Ukrainian identity and establishing the independence of the Ukrainian nation in the world. It is proved that ethnoculture highlights the inexhaustible and multifaceted talent of Ukrainians, who are the bearers of folk art. Therefore, responding to modern challenges and threats, changes in the social and political life of the country, new genres of folklore, new types of folk art (youth subculture; graffiti; political anecdotes, such as the genre of laughter culture, etc.) are created in information and cultural space, ridiculing and condemning conflict situations and negative phenomena in society. The Ukrainian nation is modernizing, is actively creating its cultural space despite the influence of the ideology of the "Russian world", despite the economic troubles, the military conflict in the east of our state. The article emphasizes the role of Ukrainian ethnoculture as a component of national culture, which has great potential in establishing Ukraine in the world cultural space, is a powerful factor of deconflicting of Ukrainian society and a consolidating factor of the political unity of Ukrainians, especially in modern hybrid warfare.

Statement of the problem. The cultural and stylistic landscape of choral singing is characterized by several paths of its revitalization: the neo-folklore movement, historically informed performance, and Nova Musica Sacra. In this context, the regional component stands out as a marker of national choral style and prevents the unique voice of a given people (homo cantor) from being «absorbed» by globalization. Choral regionalism is part of the creative practice of the 20th century, which constitutes a historically completed system; however, due to the continuity of performance as an ongoing process, this system remains open-ended.This topic is relevant because the unique role of choral regionalism in studying the revival of choral art in the context of cultural globalization has not been sufficiently substantiated. Resent research and publications. Choral regionalism is an under-researched subject in contemporary choral studies and is only beginning to gain momentum at the methodological level. This article draws on recent studies by I. Bermes (2022), N. Belik-Zolotaryova (2024), L. Serhanyuk (2015), O. Zaverukha (2019), and N. Shepelenko (2024), as well as on research by foreign scholars such as A. Coghlan (2015) and E. Lars (1983). Objectives, methods, and novelty of the research. The purpose of the study is to determine the general features of regional choral art using the example of two works from different national schools – Ukrainian and Latvian – that nevertheless share similar developmental characteristics in creative practice. The research material consists of representative choral works from Ukraine and Latvia: Borys Lyatoshynsky’s arrangement of the Ukrainian folk song “Oy u poli try krynychenk”» and Ēriks Ešenvalds’s choral pieces “Stars” and “O Salutaris Hostia”. The research methodology integrates contemporary approaches to analyzing choral singing. General approaches (historical, systemic, functional-structural) are combined with genre-stylistic, performance, and choral studies perspectives. Together, these methods direct the researcher’s attention to the specifics of choral art as an audible, «living» text. The novelty of the study lies in revealing the unique intonational and genre-stylistic features of works by Ukrainian and Latvian composers in the context of choral regionalism. Research results and conclusion. The article highlights the role of Borys Lyatoshynsky, who was the first among Ukraine’s professional composers in the first half of the 20th century to extensively use imitative polyphony in choral composition as a classical method of intellectualizing art. The identified intonational and genre-specific characteristics of his choral arrangement of the Ukrainian folk song “Oy u poli try krynychenky”, as well as of Ēriks Ešenvalds’s pieces “Stars” and”«O Salutaris Hostia”, accentuate the regional distinctiveness of the art of the homo cantor against the backdrop of global cultural trends. A comparison of the choral traditions of the two regional schools – Ukrainian and Baltic – revealed both a commonality of purpose under conditions of political oppression and a kinship in artistic processes. Differences are evident at the linguistic and stylistic level and are determined by the mentality shaped by each folk tradition (enriched through dialogue with the Other, in E. Livinas’s terms), by the aesthetic values of the national language and literature, and by distinct worldview and religious meanings.

Agentic teacher learning is central for teachers’ professional development, school development and student achievement. The purpose of the study was to explore trajectories of teachers’ professional agency in the professional community during a three-year follow-up period. The data comprised surveys with Finnish comprehensive school teachers (N = 2645) and latent profile analysis was used to identify subgroups of teachers. Four trajectories were identified: High agency, Increase in agency, Decrease in agency and Moderate agency. The results showed that the profiles were partly predicted by school type, teachers’ work experience, leadership role and turnover intentions. Moreover, agency in the professional community was connected to the teachers’ experiences of socio-contextual burnout; teachers with a strong sense of agency in the professional community experienced lower levels of burnout symptoms. The findings imply that teachers’ agentic learning within the professional community can facilitate both their professional development and work-related well-being.

On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)

National culture and R&D and marketing integration mechanisms in new product development: A cross-cultural study between Singapore and New Zealand

Understanding the history of any nation is impossible without knowing and understanding the peculiarities of the central part of its national culture – folk traditions. Being extremely multicomponent, the complex of traditional folk culture includes many components, the most important of which is the wedding ceremony. The article highlights one of the most stable elements of the South Russian wedding ceremony of the nineteenth and early twentieth centuries – the wedding exchange of clothes between the bride and groom, as well as gift exchange between newly–born relatives. An attempt has been made using the results of the author's field research in a number of villages in the Voronezh, Lipetsk and Tambov regions (2005-2024) to identify the degree of preservation of the main traditional components of this rite, as well as their possible modifications under the influence of various factors.

Reviewed by: The Music of Malaysia: The Classical, Folk, and Syncretic Traditions by Patricia Matusky and Tan Sooi Beng Raja Iskandar Bin Raja Halid (bio) The Music of Malaysia: The Classical, Folk, and Syncretic Traditions, second ed. Patricia Matusky and Tan Sooi Beng. SOAS Musicology Series. London: Routledge, 2017. xxii + 438 pp., 603 b&w illustrations, notes, bibliography, discography, videography, index + two CDs. ISBN: 9781472465047 (hardcover), $132.00; ISBN: 9781315223025 (e- book), $38.00. In the past five decades, efforts have been made by the Malaysian government to document, preserve, and promote the traditional performing arts as part of the nation’s plan to bridge the social and economic gap between the major populations. This led to the establishment of Kompleks Budaya Negara (National Cultural Complex) in 1972, after the National Cultural Congress a year earlier. The National Cultural Complex was later known as Istana Budaya (Palace of Culture), where traditional performers were employed as instructors, and performances were held. This was followed by the opening of Akademi Seni Kebangsaan (National Arts Academy) in 1994. Now known as ASWARA, the academy offers tertiary education in traditional performing arts including makyung and wayang kulit. Since music was included in the national school curriculum, there have been demands for more music school-teachers and instructors. Students are also taught traditional performing arts in many schools and universities as part of extracurricular activities. Publications and teaching materials for traditional music and performing arts have still been lacking, however. Matusky and Tan’s original publication The Music of Malaysia was an important contribution at a time when there was a dire need for source books on Malaysian music. It was written especially for music teachers, university lecturers, researchers, and the general public with some understanding in music. This book was first published in Malay in 1997 and followed by an English version in 2004. It was a culmination of years of work by the two ethnomusicologists, with additional materials by a number of scholars in Malaysian music. This new edition, published by Routledge in 2017, has been fully revised and includes two audio CDs of field recordings. The Music of Malaysia is now accessible to a much wider readership and is available in both print and e- book versions. The book is stunning in its scope and coverage. It is divided into six chapters, preceded by an introduction that provides an overview of Malaysia’s history, society, politics, and economy. Here the authors provide a historical timeline of Malaysia’s musical development and outline five musical categories that encompass the major ethnic groups of the country. This inclusivity shows the ethnic diversity and multicultural nature of the country. The music performed in these societies is categorized as classical, folk, syncretic, and contemporary art music. Although some of the performances may overlap, [End Page 150] this categorization greatly facilitates the research and documentation of Malaysian music and performing arts. The first chapter looks into the music of major theatrical forms, which comprise shadow puppetry, dance and opera, and musical theater. It gives an overview of the Malay shadow puppet play wayang kulit; Chinese po- te- hi glove puppet theater; makyung, menora, mekmulung, and randai dance dramas; the Malay opera Bangsawan; boria musical theatre; and Chinese opera. Drawing from Matusky’s own research, the wayang kulit is well explained here, together with transcriptions and analysis of the music. Samples of wayang kulit music taken from her field recordings in the 1970s are also provided on the accompanying CDs. Makyung, an ancient Malay theater from Kelantan that uses the same tetawak and gendang instruments as the wayang kulit with an addition of the rebab (or bowed lute), also receives lengthy coverage with examples of its music. After a brief look at mekmulung from Kedah and randai from Negri Sembilan, the chapter moves to the Malay opera Bangsawan, which appeared as a result of British colonization of the Malay Peninsula. Its music comprises songs that have a combination of Malay and Western musical elements. This can be heard through recordings of two 1930s Bangsawan songs found on the CDs. The chapter ends with a look at menora folk dance theater found in the states of Penang, Kedah, and...

The purpose of the given studies is to find out the origin of the lyrical opera genre in European music theatre. The lyrical opera is connected with academic tradition, and popular sphere that allows us to find the parallels with Chinese national art. The guarantee of it is the performance choice and public confession. Chinese singers love to sing the compositions of the lyrical French opera and audience understands them because there is their own line of the lyrical opera Chinese culture such as the Kunqu old-time opera which is well-known in popular cultural sphere at the beginning of the XXI century. In lyrical opera the lyricism is a factor of the melodious hymn way of expression, which has formed the basis of operatic vocalization. Including in French operatic tradition it appeared as the variety of the genre manifestation of the opera (the lyrical tragedy) where music formed scenic syntheses for actions and ideality of the vocal expression. The French operatic tradition formed the opposite school to Italian one and German operatic symphonic style. It was found in J. Duprez vocal-timbre opening, which had made closer the expressiveness of tenor and baritone-bass by means of character. However, the caution of the using given vocal-timbre innovation in French operatic creative activity later was explained by popular theatre tendencies to of the forms, including spiritual music. The Spiritual value of the French men’s vocal art opposes the dramatization timbre of and post periods. In Italian it is entitled the technology tenors of Verdi and their analogue in baritone quality. The practice of lyricalhymn singing united spiritual and public traditions of the vocal culture which were realized in the first French music theatre in the middle of the XIX century. It is not accidentally that the creator the lyrical opera (1859, Faust) C. Gounod had a spiritual san and wanted to reconstruction of church basis of the expression in opera. There were hymn genre and sublime moral ideas-images. They were personified in music of song-cavatina as corresponding to declarative statement of moral basis strength of being and manifestations nature. The analysis the most significant lyrical points of the opera Faust shows us that C. Gounod tries to make that music genre closer to applied-home melody, with sample high spiritual lyric poets of old fellows, contributing semantic moral depth and artistic value of the manifestation of life feeling in feature of the personages-image. Gounod-preacher, Gounod-teacher’s social program of supporting the people from social bottom, defined the originality of his artistic program. There he exceedingly united the requirements of high and low, heroic and comic genres, brought the generalising lyrics of the number song-аria features of the main heroes on position of the leading expressive typology of operatic compositions. The given tendency to simplicity in operatic drama within serious genre has the analogies with populism in Traviata where the waltz base of music and life realism of the characters vestment in modern cloth (the factor of the comic genre) contributed the relationship with small genre subspecies of the operatic performance. Don’t forget that the French operetta appeared at the same time with Gounod lyrical opera, but in its music-developed number turned out to the reduction. But it seemed only as a parody of the feathered-vоcаl heights of the expression. A. Dargomyzhskij and other Russian composers turned to of speech, and its projections in operatic singing, avoiding wealth of symphonic style and vоcаl of arias. The German music as R. Wagner one became firmly established in redundancy of symphonic style, but in categorical accentuation of declamations and removing ensemblechoral contrast with solo fragment. It simplified the facility of the invoiced decision of the operatic show. So we can make the conclusion about C. Gounod innovation. He worked in resonance with similar other national schools, keeping the national preferences. C. Gounod invented a new genre and named it – a lyrical opera. In French tradition it is connected with Greek-antique stimulus of the artistic process in given national school. Thus, the French lyrical opera formed a new history stage of the finding the opera as music drama where the leading principle is solidarity with folk, national and church origins of this type of art. The lyrical opera finds approximation to of the forms of the folk music tradition what does not form the prerogative French national music scene. In Chinese practice of the music theatre with dramatic Beijing opera, special role has lyrical Kunqu opera. It has become well-known in world popular cultural space at the end of the XX – at the beginning of the XXI centuries, it notes about rapprochement of different national school in the world.

The National School Social Work Practice Model 2.0 calls on school social workers to cultivate a supportive school climate as one of its four core focus areas. In line with the model’s professional principle of equity, as state legislators continue to pass explicitly anti-LGBTQ+ legislation, the imperative to address gender equity in schools becomes urgent. The present study examines how school-based mental health professionals (SBMHPs) supported students with complex gender identities (e.g., transgender or nonbinary students) in schools. As part of a critical ethnography on gender in New Orleans schools, this study draws from 33 qualitative interviews with school stakeholders (N = 26) including students (n = 18) and school staff (n = 8) and analysis of written school policies across 17 schools. Results demonstrated that SBMHPs provided three types of support to youth with complex gender identities: general student support, student information tracking, and proactive education efforts. Despite numerous examples of support, potential areas of improvement were also illuminated. School social workers can take action to promote educational equity across all five professional activities posited in the model: practice, research, policy, leadership, and advocacy. Social workers must advance educational equity in schools by standing in unapologetic solidarity with youth with complex gender identities.