Art Crafts Research Articles

Проблемы реализации права на использование морских биоресурсов коренными народами Российского Севера

Introduction. The indigenous small-numbered peoples of the North of the Russian Federation received constitutional and legal status, due to which they have special guarantees, including priority access to the resources of aquatic ecosystems. The indigenous peoples of the Russian North are allowed to catch some species of mammals, which are under a special protection status, in order to maintain their traditional way of life. Theoretical analysis. Catching and commercialization of aquatic organisms, their use as food products, medicinal products, and household items generate negative consequences for biological resources and contribute to the social degradation of the indigenous peoples of the North. Empirical analysis. The previously applied strategy of preserving the indigenous peoples of the North intensified the crisis of small ethnic groups and contributed to the illegal extraction of aquatic biological resources. Today, the state is improving the mechanism for registering indigenous peoples for the exercise of their social and economic rights, draws attention to the need to comply with the principle of combining rights and obligations in the implementation of marine animal hunting. Results. Marine animals are an integral part the life of indigenous peoples of the North: they form the basis of the protein type of nutrition, are used in ethnomedicine, and allow to express the cultural potential through artistic craft and types of traditional activities. Marine hunting depletes natural resources of aquatic ecosystems, affects the spread of zoonotic pathogens, contributes to the development of illegal trade in marine animals and (or) their parts, exacerbates the problem of climate change. Recent changes in legislation indicate that the state is revising its attitude to aquatic biological resources based on the modern development of the indigenous peoples of the North.

Traditional products and crafts as main elements in the effort to establish a city brand linked to sustainable tourism: promoting silversmithing in Ioannina and silk production in Soufli, Greece

City officials around the world are in search of a tourism model that will be linked to a positive impact on local communities, create jobs, and boost development in other sectors. Establishing an attractive city brand becomes part of this effort and research shows that the discussion on city branding methods has attracted attention over the last two decades not only on an academic level but also among practitioners (Metaxas 2010; Oliveira 2016). Recently, a shift can be witnessed in city marketing/branding practices toward a more inclusive and less finance-driven approach (Govers 2018; Deffner et al. 2020). Reviving traditional products and craftsmanship fits in this new approach. To which extent can local products influence the visitors to travel to specific destinations? How are traditional products linked to sustainable tourism development in smaller cities? Could the local products and crafts facilitate a positive city brand? Searching for a way to establish an identity that is based on a tradition in a strategy means that both local stakeholder groups and inhabitants should cooperate. This paper aims to explore how cities in Greece are promoting their traditional products and artisanal crafts to determine their contemporary identity. Two case studies have been selected: Soufli with its traditional silk production and Ioannina with its strong silversmithing legacy. A common element of the two cities is that recently two relevant thematic museums were initiated, leading to a discussion among local stakeholders regarding the revival and further promotion of these traditional production processes. The paper presents the results of qualitative and quantitative research; a visitor survey was conducted and interviews with stakeholder representatives/key informants were held in each city. The future perspectives and the sustainability of the process in the two cities are cross-compared and the common elements and differences are discussed critically, drawing on the results of the field research. The results of the interviews and the questionnaires showed that for both cities traditional craftsmanship form a key identity but also a vital element of the local economy. The paths that have been followed are different, but some main common elements have been detected and highlighted.

French artisan food co-operatives at the intersection between the artisan dimension and industrial logic – A two case study analysis

This article provides two case studies of food manufacturing co-operatives in France. Both co-operatives were formed after large multi-national firms ceased manufacturing in a specific factory and the workers, rather than accepting redundancies, established an artisan production company based on “traditional” techniques and co-operative values. In order to do this it utilises the often overlooked literature of the artisan craft movement. While this literature has been primarily developed around the emergence of artisanship in the third world it will be argued that such conceptualisations are also useful when exploring the development of artisanship amongst co-operative companies who are re-establishing their traditional ways of working, even in the “developed world”. In doing so it builds on the work of Dickie and Frank (1996) who stated that “through crafts, tradition is maintained and/or invented, and marketed to consumers who find other meanings in the objects.” The theoretical construct posited by this article maintains that businesses with non-traditional economic models actually faced a complex and multi-faceted series of pulls in a number of different directions. Furthermore that businesses re-establishing themselves as artisan manufacturers using locally sourced materials with democratic models of governance can be directly compared to artisan craft producers from the developing world. The article draws attention to the parallels between two important research areas which have not been linked before. By doing so it has important implications for the mechanisms by which support is given to emerging co-operatives in the developed world and the a priori assumptions which underpin current policy.

Creative entrepreneurs' artistic creativity and entrepreneurial alertness: the guanxi network perspective

PurposeThe dichotomy of views on “arts for arts sake” and “art must meet commerce” elicits the clash about how creative entrepreneurs encounter the dilemma of fulfilling personal satisfaction and chasing entrepreneurial aspiration along the entrepreneurial process. It is argued whether or not creative entrepreneurs can integrate artistic creativity and entrepreneurial alertness to disentangle the conflict and tension between art and commerce in the guanxi embedded culture context. The complex guanxi ties of creative entrepreneurs identified as bonding ties with families, bridging ties with friends and social ties with colleagues are presumed to activate personal and social values.Design/methodology/approachThe research design consists of two stages: face-to-face interviews and empirical survey. A total of four successful local creative entrepreneurs in craft arts were interviewed and asked questions related to their source of creative inspiration, market alertness and value creation. Findings derived from interviews enrich the questionnaire development of the empirical survey. The survey was conducted to realize the social phenomenon of creative entrepreneurs' guanxi, cognitive process and satisfaction with Taiwan's creative industry context. In total, 318 creative entrepreneurs’ responses were collected and analyzed by using structural equation modeling (SEM).FindingsResults suggest that guanxi networks lead to the acquisition of various social resources that are conducive to alertness in entrepreneurial opportunities and stimulate artistic creativity, which in turn gratify creative entrepreneurs' senses of entrepreneurial satisfaction with life, work and social contribution, as well as achieve higher entrepreneurial aspiration, perceived as social recognition and meaning of work.Practical implicationsResults of this study enrich the understanding of creative entrepreneurs and their awareness of balancing opportunity alerting and artistic creativity while starting creative businesses. Diverseness and closeness of guanxi networks can fill the gap between art and market and further pave the way to winning aspiration.Originality/valueThis paper advances the existing literature on creative entrepreneurship by adopting guanxi network theory to explore entrepreneurs' cognitive process in the linkage of artistic creativity and entrepreneurial alertness and their mediating effects on perceived entrepreneurial satisfaction and aspiration.

Amplified: A Design History of the Electric Guitar by Paul Atkinson

Reviewed by: Amplified: A Design History of the Electric Guitar by Paul Atkinson John Hajduk (bio) Amplified: A Design History of the Electric Guitar By Paul Atkinson. London: Reaktion Books, 2021. Pp. 272. Amplified: A Design History of the Electric Guitar By Paul Atkinson. London: Reaktion Books, 2021. Pp. 272. One would be hard-pressed to name a more culturally iconic piece of technology produced over the past seventy years than the electric guitar. Perhaps only sports cars, like the Corvette or Camaro, resonate as strongly in relation to youth-centered culture in the late twentieth century. Paul Atkinson's fine overview of how the electric guitar evolved from its humble origins (discovered in an 1890 patent application) to the present certainly bolsters that impression. The book is full of photographs, drawings, and advertisements with richly detailed descriptions of virtually every significant model developed over that span. Atkinson traces how new design elements emerged, whether motivated by efforts to achieve better engineering, better sound, or better visual aesthetics. The broader cultural import of the instrument is mostly incidental to his main focus, but Atkinson's efforts still convey how technological innovations combined with artisanal craft and musical purpose made the electric guitar such a powerful symbol, especially in relation to rock and roll culture. The author covers everything from proto-electric guitars (acoustic instruments fitted with some form of electronic amplification) to fully computerized guitar-shaped synthesizers whose relationship to traditional guitars is mostly visual. Looking beyond the myth surrounding the instrument, Atkinson asserts that the story of its evolution owes as much to inspired tinkerers as to professional designers or engineers, all of whose various efforts made for a mostly haphazard pathway to innovation. Musicians such as Les Paul were just as likely as electronics professionals like Leo Fender to contribute lasting ideas. They are among the names that became part of the myth. Atkinson's account underlines the influence of two companies, Fender and Gibson, that were largely responsible for placing the electric guitar at the center of the emerging youth culture represented by rock and roll. Leo Fender's early designs developed from his interest in country music, while earlier experiments in electrification were more closely associated with Hawaiian and jazz styles. However, mass demand for his fabled Telecaster and Stratocaster models exploded when young people saw early rock guitar heroes such as Buddy Holly and James Burton wielding them in television appearances. Chuck Berry and later Eric Clapton had a similar impact with Gibson models. Atkinson does not develop his reference to the influence of television in shaping the reception of these instruments. For example, he does not follow up with a discussion on the influence of MTV in the 1980s, but his account is provocative enough to suggest a line of further research clearly beyond his stated scope. [End Page 968] Once Fender and Gibson demonstrated the electric guitar's growing popularity, other companies developed their own variations, with rock musicians as a primary target market. While many competitors deviated only slightly from the templates pioneered by the two industry leaders, other designers sought to make their mark, and even customized their designs to incorporate visual motifs of particular sub-genres of rock, like heavy metal or glam. Certain models also became closely identified with star performers, and as with Les Paul before them, some artists took a stab at designing their ideal instrument (for the author, Eddie Van Halen was a prime example). Atkinson draws on a variety of published sources and interviews to augment his commentary, and he tells the story in a clear, accessible fashion. His book nicely complements two other recent works on the same subject: Brad Tulinski and Alan di Perna's Play It Loud (Knopf Doubleday, 2017), which takes a more nuanced look at the cultural impact of the electric guitar, and Ian S. Port's Birth of Loud (Simon and Schuster, 2019), highlighting the rivalry between Leo Fender and Les Paul. Despite the narrow focus on the evolution of technological and design elements, Atkinson's book is a useful and visually striking addition to the literature on the electric guitar. John Hajduk John Hajduk is professor of history...

Entertainment industry sector under the spotlight: How PR professionals and event organizers communicate during pandemic crisis

The COVID-19 pandemic has wounded sociality and limited the possibility to stay together: the essence of many forms of art. All the sectors whose activities are based on cultural values, or artistic, creative expressions, market or non-market oriented. It includes architecture, archives, libraries and museums, artistic crafts, audio-visual tangible and intangible cultural heritage, design, festivals, music, literature, performing arts, publishing, radio and visual arts. This paper aims to shed a light not only on the scarce literature on the field, but also on the particularities of how professionals communicate during pandemic crisis in the entertainment industry, especially at the moment when the whole world is being confronted by multiple crisis that have converged. In doing so, we explore how public relations practitioners and event organizers in Romania acknowledge the importance of being aware of the crisis, how they refer to crisis, the tools they use and the way they approach stakeholders. With the help of semi-structured interviews with public relations practitioners and event organizers in Romania, we aim to structure a frame of looking at the crisis communication in the entertainment industry during this pandemic crisis, with a particular focus on celebrities.

UKRAINIAN TEXTILES AS AN INTEGRAL PART OF MODERN DESIGN: EVOLUTION, PERSPECTIVES

The article reflects the main stages of the formation of design in the field of textiles. It is analyzed the current state of development of textile art, marked features of modern techniques and genres, given examples of textile art and design in some regions of Ukraine, outlined the lack of professional analysis of modern techniques and means of creating modern textile design products. It is shown that the emergence of design as a special type of design and artistic activity is associated with the final stage of the first industrial revolution in the late 19th century. The division of work, which emerged later, led to the creation of manufactories, which were replaced by the machine production of weaving factories. Making textiles from artisanal craft production turned into a special kind of art and design activity and, accordingly, a textile designer, new profession, began to form. It is shown that in the 90's of the twentieth century there was a change of principles of shaping. The main distinguishing feature of the works of textile design from the works of arts and crafts is a systematic approach to the created thing, namely: a scientific approach to the design; innovative shaping; interaction with the space; the use of new technologies and materials; expanding the palette of artistic and technological means, which allow you to combine them multivariably to get new original solutions; artistic simulation of the object environment in conventional forms and materials (layouts, sketches, experimental search for form); improving the quality of the product. The focus on creating a harmonious object-spatial environment at the end of the twentieth century has intensified the efforts of artists of all kinds and genres of art. It was found that the sphere of artistic design of textile products, the selection of pattern and coloring, for the fabric of the appropriate texture, as well as the issue of perception of the artistic image of these works of textile design as a holistic system, have been insufficiently studied. The expressive means of artistic textile of the XXI century increasingly attract the attention of contemporary artists. Modern genre diversity of works covers all levels: thematic, formational, ornamental, technological and embodies the idea of self-sufficiency of artistic creativity in textiles. The works are full of deep emotionality and extreme figurative expressiveness, which makes it possible to integrate into the European environment.

MASCULINE BALLET AS AN EXAMPLE OF A MODERN BALLET ART

Masculine ballet as an example of a modern ballet art In the given article the queStion of masculine ballet art craft through the gender modification in brief text presentation is settled, and therefore analysis of the search of masculine character depiction of art direction is done. The analysis of ballet art works are done where the masculine part is inseparable part of big role of cognominal character. There were provided the inveStigation of the men of art – the actors – and their undefeated way to creating new ballet characters of woman’s prototype. Also the prominent Ukrainian ballet Stage figures are inveStigated who were contributing to the diapason of Ukrainian theater by their masculine part. The formulation of the article objectives: to inveStigate the regularities and Striving of the masculine hero on the European and Ukrainian Stages, to reach the aim of the enrichment by his uniqueness and generativity up to conStant criteria of self-knowledge and self-perfection through the perception of the audience analytics. To present the examples of Ukrainian ballet artiSts, their figurativе aspect and changes laid by them into the hiStorical qualifications of conStruction of the lines of the rising masculine notable personalities. Summaries. Ukrainian and European ballet space combines the gender intereSts of Structure of the interpretation and subStitution in characters of expression of that or another role. For years the Ukrainian dancers have been enriching the Ukrainian Stage, the ones whose unbelievable perception and transmission of artiStic bright energy color were fulfilling and indulging the theater Stage. Also in the rhythm of perception of modern performances there is a quite certain aspect for underStanding that gender safety “belts” concerning “the non-fitting” of the Feminine vs Masculine (and inStead) have no more importance of attention drawing from the side of theater critics. The norms of the confusion of certain paraphernalia in the coStumes, role staging and diversification in representing the individuality as a main hero in certain performance give the audience the opportunity to investigate the feminine and masculine characters in the Pleyada of modern performances and the way for avant-garde decisions.

ПЕРЕМІЩЕННЯ ЗБІРОК МУЗЕЮ імені КНЯЗІВ ЛЮБОМИРСЬКИХ У 1940 році

Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.

ГЖЕЛЬСКАЯ КЕРАМИЧЕСКАЯ ШКОЛА В 1918–1925 ГГ. В АРХИВНЫХ ДОКУМЕНТАХ РГАЛИ И ЦГАМО

The article considers the documents related to the work of the Gzhel Ceramic School in the first half of the 1920s. This period became one of the defining stages of the development of art and industrial education on the territory of the distribution of the oldest folk art craft in the Moscow province. The Gzhel Ceramic School of the People’s Commissariat of Education, which began its activity in the autumn of 1918, was the successor of the drawing classes opened here in 1899 by the Imperial Stroganov Central Art and Industrial School. The analysis of the School’s work allows us to ascertain the leading role of the state in the formation of art and industrial education, a characteristic feature of the development of which in those years was the search for optimal organizational forms of training, aimed at mass training of master ceramists in combination with their general secondary education. In the first post-revolutionary years, the development of handicraft production in the places of the traditional existence of folk arts and crafts was an important area of activity for the Soviet republic. In the 1920s the products of folk crafts were one of the few goods produced in the RSFSR that were in demand abroad, which made it possible to consider it as a means of obtaining foreign currency. In addition, the development of crafts, which employed a significant number of workers in imperial Russia, seemed to be one of the ways to level the social tension associated with unemployment in the regions that had previously been distinguished by the relative prosperity of the residents. The article notes the role of the School’s management and the teaching staff in its educational, economic and awareness-raising activities.

Novel Study of Machine Learning Algorithms with Supervised Learning Approach to Solve Real Time Big Data Applications Using Hadoop and Spark

This review focuses on different machine learning algorithms, descriptions, pros and cons of the algorithms. It also includes task of machine learning and supervised learning process, tools, techniques and programming language to build machine learning model. Machine learning is a building computational art craft, which learns through time from experience. Machine learning is learning from data and it turns input data to information (mapping input value to output value using label data). The objective of machine learning is building the algorithm that can learn from past data without the help of human experts. The learning algorithm contains task T, performance measure P and training experience T. Machine learning algorithm categorized as supervised, unsupervised and reinforcement learning. Supervised machine learning has two tasks, which are classification and regression. Hadoop with Spark and Python programing language most commonly used to build machine learning model. Information gain and Gain ratio, Gini index and Random forest algorithm used to measure feature importance. From this study most of supervised learning algorithms used k-fold cross validation techniques to split the data set in to training set and testing set. Standard value of k will be five or ten but it didn’t fixed, because it depends on the size of data set. The machine learning model performance mainly evaluated using classification accuracy, precision, recall, area under the curve and F-measure (F-score). Generally machine learning algorithms depend on the nature of the data, because the performance of the learning algorithms affected by data set. Therefore it is impossible to say the prediction accuracy of one algorithm is best over others. As each machine learning algorithms have pros and cons, designing of hybrid algorithms might be overcome this problem.

Pre-Occupied

Pre-Occupied Jeanne Heifetz (bio) In the Pre-Occupied series, I challenged myself to confront something that terrifies me. I have had death panics since I was eight years old. Ironically, the only real estate I am ever likely to own is a parcel of eight cemetery plots I inherited from my grandfather. The deed to the plots came with a map of the cemetery, which seemed like the logical place to begin to address my fear. Each drawing in this series is based on the map of a different Jewish cemetery, including the ones where my own relatives are buried. (I am not religious, but the historical and familial connection was important: these are all places I could be buried, even though I remain completely unreconciled to the idea of my own death.) I can’t claim that drawing the maps allays my panic. Death remains entirely unknowable terrain: the map can never be the territory. And yet, stripped of identifying text, the cemeteries’ abstract forms are mysteriously compelling, grounding me in the universal human drive to create beauty, order, and ritual in the face of our own mortality. ________ Pre-Occupied is an ongoing series begun in 2016, currently comprising 138 individual works. The drawings are burnished graphite on handmade paper. Portions of the series have been included in group shows at Drive-By Projects, Watertown, MA; Five Points Gallery, Torrington, CT; Odetta Gallery, Brooklyn, NY; Lehman College Gallery, Bronx, NY; Patchogue Arts Center, Patchogue, NY; The Tobacco Factory, Long Island City, NY; 404 Gallery, Brooklyn, NY; BergenPAC Gallery, Englewood, NJ; and in a solo show at the Lobby Gallery of the 14th Street Y in New York City. The full series can be viewed at www.jeanneheifetz.com/pre-occupied. The following is a selection of four images from the series. [End Page 45] Click for larger view View full resolution Pre-Occupied 59. [End Page 46] Click for larger view View full resolution Pre-Occupied 64. [End Page 47] Click for larger view View full resolution Pre-Occupied 90. [End Page 48] Click for larger view View full resolution Pre-Occupied 103. [End Page 50] Jeanne Heifetz Jeanne Heifetz came to visual art by a circuitous route. She has two degrees in English (Harvard AB; NYU MA), spent a year as the writer-in-residence at Exeter, worked at Esquire and American Heritage magazines, and wrote a book on organic food (HarperCollins) and one on the origin of color names (Henry Holt). Heifetz also had a parallel career as a weaver, exhibiting at venues like the Philadelphia Museum of Art Craft Show and the Smithsonian Craft Show. In 2007, she started applying fiber techniques to nontraditional materials; by 2011, her work had shifted entirely from fine craft to fine art. Since then, she has shown in galleries and museums in seventeen states, the United Kingdom, France, Italy, Germany, Australia, and Israel. Her work is in the Drawing Center’s curated registry and the flat files of the Kentler International Drawing Space. She has curated shows at Schema Projects and the Workshop Gallery in Brooklyn and at the Philadelphia Museum of Jewish Art. A fellow at LABA: A Laboratory for Jewish Culture in 2018–19, Heifetz lives and works in Brooklyn. Copyright © 2021 Purdue University

Народные художественные промыслы России как объект культурного наследия

Folk art crafts of Russia as a phenomenon of traditional culture are an informational and valuable resource for the development of culture, so it is vitally important to include the heritage of folk-art crafts in the current culture as a source of instrumental basis for constructing social memory, which is possible only based on cultural understanding of crafts as an object of heritage. Folk art crafts are both an economic phenomenon and a form of existence of folk-art culture, representing a cultural phenomenon that reveals the laws of development and functioning of human society. For the first time, the article gives a definition of folk art crafts as an integral object of cultural heritage and analyzes its constituent elements in the form of objects of different types of heritage, presented in tangible, intangible, environmental and natural terms.

Distance learning: Artistic disciplines in expectations and results

The long period of distance learning in higher education has set difficult tasks for teachers. The article analyzes the course and results of an experiment that was conducted at the Department of Folk Art Crafts of the Moscow State Regional University in 2020. The experiment involved three groups of students in two fields of study: 54.03.01 Design, specialty Costume Design (CD) and 54.03.02 Decorative and Applied Arts and Crafts (DAAC). Students independently identified problems that could arise during distance learning. These are objective factors, such as: insufficient mastering of skills of working with materials and tools, the inability to correct errors and shortcomings immediately, etc.; and subjective factors: psychological problems, deterioration of health indicators, etc. The authors of the article followed the changes in the problems of teaching and made analytical conclusions about how the students’ attitude to the process of remote learning changed. Despite the positive dynamics in students’ perception of online communication with teachers, some of the problems remain unsolvable. For example, the main problem in teaching creative disciplines, in our opinion, was the lack of direct contact between the master and the student, when the skill of artistic work is transferred “from hand to hand”. The authors conclude that the teaching of creative disciplines cannot be completely taken online.

The art of craft in the interior

In relation to the most characteristic architectural styles and movements, this paper discusses the issues of creation and development of artistic crafts that influence the formation and decoration of interior space. The evolution of crafts from a purely utilitarian activity to a form of decorative and applied art used to transform the interior environment by holistic and functional means is being considered through the lens of subjectspatial and functional-artistic organization.

A new interpretation of prince Lazar’s “tipar” from the Rudnik mountain

This paper offers a new interpretation of an object found on the Rudnik mountain in 2015. On its first public presentation, it was defined as a tipar (seal die) of the Serbian prince Lazar. However, a new reading of its inscription revealed a detail that demonstrates that it is not a seal die but an object with a different purpose. It is a mould (matrix) which would have been used for the fabrication of a medallion (plaquette) on the bottom of a goblet destined for the prince. This identification is also corroborated by examples of similar medallions known in the region of medieval Serbia and its surroundings. This find from the Rudnik mountain remains unique in our region while the new interpretation raises a series of questions about the development of artistic crafts and the fabrication of luxurious receptacles in medieval Serbia.

Latest Technologies in Embroidery Art as a New Stage in Traditional Ukrainian Crafts Development

The aim of the research is to cover modern tendencies in design of embroidered garments using computerized embroidery machines. The research methodology includes observations of historical, artistic and cultural analysis. The novelty of the research. The article focuses on the review of archaeological artifacts and historical sources which demonstrate the presence of embroidered elements in clothes decor of ancient Ukrainians and prove the fact that the tradition of ornamentation of clothes with embroidered elements dates back more than two thousand years. It is claimed that during the 20th century in Ukraine a process of development of artistic crafts by mechanical means, i.e. using technical means to speed up the work which had both positive and negative results, was taking place. The article also contains brief information on capabilities of computer technologies in embroidery process. Conclusions. The findings of the research prove that in the 19th century digital technologies expand opportunities to create embroidered pieces of art thanks to computerized machines. The embroidery art remains one of the most important crafts which is naturally aimed at ornamentation of garments. Innovations and latest technologies offered an opportunity for progressive designers to create new models in clothing and images for embroidery decor, and also laid the basis for further development of embroidery art.

A сoursebook on linguocultural studies for foreigners studying the Russian language: concept and content

The article continues studying interconnected teaching of Russian language and culture in linguistic and сultural aspect of the methodology of teaching Russian as a foreign language (RFL) from the perspective of communicative and active learning. The relevance of this study is associated with the need to develop a system of theoretical and practical recommendations on using cultural potential of language environment in teaching and learning RFL as part of communicative and active approach to teaching. The research attempts to develop the concept and content of a coursebook on linguocultural studies, aimed at extending knowledge of Russian culture and developing communicative competence of foreigners studying the Russian language. This is an important condition for linguocultural adaptation. The research was carried out on the basis of traditional folk culture realities, which most vividly reflect the peculiarities of national mentality and provide opportunities for both theoretical and practical cultural activities in teaching/learning RFL: decorative and applied art and folk crafts, traditional folk dolls, and cuisine. The methods of the research are analysis, generalization and forecasting. The research resulted in developing the concept of a coursebook on linguocultural studies and determining its content. The author makes conclusion about effectiveness of the communicative-activity approach in teaching and learning aimed at extending foreigners knowledge about Russian culture and Russian national mentality, forming their communicative competence and providing successful linguistic and cultural adaptation. The conclusion is based on the materials of a coursebook on linguistic and cultural studies for foreigners learning Russian.

Recyclable Heterogeneous Radical Generators Toward In‐Flow Polymer Elaboration System

AbstractInvited for this month's cover is the group of Satoshi Honda from the University of Tokyo. The cover picture shows a “Shodo” and “Origami” art of a Kanji character meaning “flow” and a girl having a column for chromatography. Shodo is Japanese Calligraphy with a brush and India ink and recognized as a traditional craft art drawing, which requires herculean effort to create a good piece. One of the authors in the paper, Ms. Minami Oka, is a Shodo Master, which means like Jedi Master in Star Wars films and created the cover. The brush indicated in the figure is the column for chromatography as the mechanism for creating Kanji character in Shodo is similar to paper chromatography. The Kanji character reflects the main story of “in‐flow” polymerization described in the paper. Read the full text of their Communication at 10.1002/cmtd.202000016.

Front Cover: Recyclable Heterogeneous Radical Generators Toward In‐Flow Polymer Elaboration System (Chemistry ‐ Methods 1/2021)

The Front Cover shows a “Shodo” and “Origami” art of a Kanji character meaning “flow” and a girl having a column for chromatography. Shodo is Japanese Calligraphy with a brush and India ink and recognized as a traditional craft art drawing, which requires herculean effort to create a good piece. One of the authors in the paper, Ms. Minami Oka, is a Shodo Master, which means like Jedi Master in Star Wars films and created the cover. The brush indicated in the figure is the column for chromatography as the mechanism for creating Kanji character in Shodo is similar to paper chromatography. The Kanji character reflects the main story of “in-flow” polymerization described in the paper. More information can be found in the Communication by Jue Yi et al.