Concept Of Figure Research Articles

The Second Violin Consert Of Bela Bartok In The Context Of Genre Development

Relevance of the study. One of the leading instrumental types of the concert is the violin concerto, presented in the first half of the twentieth century by almost 500 works. An important stage in the evolution of the genre during this period were the violin concertos by the outstanding Hungarian master Bela Bartok, which were firmly in the repertoire of modern performers. The second concerto (1938), dedicated to a friend of the composer, the famous Hungarian violinist Zoltán Székely, was first performed by him on May 29, 1939 in Amsterdam. Widely covered in musicological literature, however, it has not yet been considered in a genre context.Main objective(s) of the study is to find out the correspondence of Bartok’s Second Violin Concerto to the general trends in the development of the violin concerto in the first half of the 20th century and to reveal individual features of the interpretation of the genre.Methodology. In the course of the study, the following methods were used: historical – to trace the history of the development of the violin concert genre in the first half of the twentieth century; systemic – for grouping concerts of the time according to various parameters; comparative – to compare individual samples of the genre; structural-functional, intonational -dramatic, semantic – for a comprehensive analysis of the Second Violin Concerto of B. Bartok.The main results / findings and conclusions. The development trends of the violin concerto genre in the first half of the twentieth century, systematized for several parameters: stylistic features, compositional structure, imaginative concept and interpretation of the genre are considered. According to the specified parameters, the Second Violin Concerto of B. Bartok was analyzed, the correspondence of the revealed features of his organization to the main trends in the development of the violin genre was clarified, and the manifestation of individual features of his interpretation was emphasized. The circumstances of the creation of the Bartok concert are highlighted and the conditionality of the figurative concept of the work is proved. The patterns of musical dramaturgy were revealed by analyzing verbal remarks reflecting the leading figurative spheres: heroic (Risoluto), lyrical (Calmo) and scherz (Allegro scherzando). The compositional features of the concert are characterized, the updating of the three-part model typical of the genre is justified due to the introduction of the variational principle, operating at all levels of the organization of the whole. Identified folk influences in the style of Bartok’s violin concerto, in particular, the assimilation of the mode-intonational and rhythmic elements of the styles of parlando rubato and verbunkos. The interaction of solo and orchestral parts is traced; an expansion of the range of performing techniques of playing the violin is noted.

"Don't worry": Figurations of the child in a Swedish parenting advice column.

Materials such as popular books, magazines, and newspapers have historically been important for the circulation of psychologists' and psychiatrists' expertise in the public sphere. In this article, I analyze an advice column published in the Swedish parenting magazine Vi Föräldrar [Us Parents], featuring the child psychologist Malin Alfvén. Drawing on the concept of figurations (Castañeda, 2002), denoting the process of outlining and defining an entity, I show how the expert framed the child-related problems brought up in the submitted letters as transient and a normal part of children's development. In fact, most problems were considered beneficial for both parents and the child. Instead of interpreting children's behavior through a medical framework, Alfvén's explanations drew on 3 naturalizing figurations of the child: as being one of several kinds of children; as going through phases and ages; and as being a unique individual. For instance, a child could be rowdy and temperamental because he was a willful kind of child, not because, as suggested by some parents, he suffered from a neuropsychiatric disorder. I conclude by contrasting these findings to the claims made by some scholars that "psy" experts have contributed to an increasing medicalization of childhood as well as to a framing of children's development as overwhelmingly determined by parents' care. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Kourotrophia and “Mothering” Figures: Conceiving and Raising an Infant as a Collective Process in the Greek, Etruscan, and Roman Worlds. Some Religious Evidences in Narratives and Art

AbstractThe paper deals with significantly different sources and historical periods: the parts dedicated to breastfeeding are based on votive statuettes of adults with infant/s from ancient Latium and Southern Etruria; the ones on pregnancy and childbirth are based on two archeological sources – one from Southern Etruria and one from Imperial Rome – which show the male (divine) appropriation of exclusively female biological functions; The parts on mothering are based on the concept of “mothering figures” (male mothering, animal mothering…) through mythological examples from Greek, Etruscan, and Roman art and narratives. Despite the heterogeneous documentation, we may conclude that the mother was not the only active character in the process of conceiving, giving birth, breastfeeding, and raising an infant in the Greek, Etruscan, and Roman societies. Many other figures close to the mother – male and female – were engaged in obtaining divine protection for her and her child; in helping, supporting, and even substituting her when necessary (and, of course, when possible). The research has been conducted mainly by using the concept of kourotrophia and mothering figures as analytical tools.

A Generic Figures Reconstruction of Peirce’s Existential Graphs (Alpha)

We present a category-theoretical analysis, based on the concept of generic figures, of a diagrammatic system for propositional logic (Peirce’s Existential Graphs $$\alpha $$). The straightforward construction of a presheaf category $${{\mathcal {E}}}{{\mathcal {G}}}_{\alpha ^{*}}$$ of cuts-only Existential Graphs (equivalent to the well-studied category of finite forests) provides a basis for the further construction of the category $${{\mathcal {E}}}{{\mathcal {G}}}_\alpha $$ which introduces variables in a reconstructedly generic, or label-free, mode. Morphisms in these categories represent syntactical embeddings or, equivalently but dually, extensions. Through the example of Peirce’s system, it is shown how the generic figures approach facilitates the formal investigation of relations between syntax and semantics in such diagrammatic systems.

MODEL OF THE TOTALITARIAN STATE IN THE VIEW OF OUN’S ACTIVITIES (1920s-1930s) AND CLASSICAL WESTERN CONCEPTS OF TOTALITARISM: COMPARATIVE ASPECT

The purpose of the article is to identify the features of the totalitarian model of organization of state power created by representatives of the Organization of Ukrainian Nationalists in the 1920s – 1930s, as well as to make a comparative analysis of the classical Western concepts of totalitarianism with the theoretical heritage of Ukrainian nationalists. The methodology of the research is based on the principles of systematic, dialectic, authenticity, concrete-historical approach, logic. General scientific (analysis, dialectical, synthesis, structural-functional, generalization) and special (content-analysis, comparative, system-historical) methods are used. The Scientific Novelty. The political conception of Ukrainian nationalists of the 1920s – 1930s was first characterized in terms of defining the model of a totalitarian state. A comparative analysis of this model with classical theories of totalitarianism, formed by Western political scientists after the Second World War. The Conclusions. Based on an analysis of the political concepts of Ukrainian nationalists of the 1920s – 1930s, it is found that they completed the basic features of a totalitarian state. The creation of a model of a totalitarian state during this period is conditioned by objective prerequisites. The OUN’s activities took place in the context of a discriminatory policy towards the Ukrainian population between Poland. That is why ideas of hard resistance to the Polish authorities were popularized among Ukrainians. It was in a totalitarian state that Ukrainian nationalists saw a mechanism that would allow them to withstand external threats. In addition, in the countries of Central and Eastern Europe in the 1920s – 1930s, ideas about a totalitarian organization of state power were also very popular. The theories of totalitarianism by Western scholars emerged after World War II. It can be argued that there is a indirect influence of these concepts of OUN figures on classical theor ies

Marx’s Inquiry into the Birth of Capitalism: Why Does It Matter?

ABSTRACTDiffering approaches to the issue of the beginnings of capitalism imply different conceptualization of what capitalism is. This paper elaborates on the notion of original accumulation. It utilizes the Marxist notion of the mode of production to provide the concept of the historical figure which Marx describes as the pre-capitalist money-owner. Two notions are introduced: (1) The money-begetting slave mode of production, existing since antiquity and clearly distinguishing itself from the classical slave mode of production; (2) the contractual money-begetting mode of production that emerged in the middle ages in relation to financial schemes based on partnerships or associations. The taskmaster of each of these two pre-capitalist modes of production is a pre-capitalist money-owner. His later “confrontation and contact” with the labourer who has become a proletarian is finally discussed. Original accumulation is not primitive developed or humane capitalist accumulation, but the transformation of pre-capitalist social relations into capitalist social relations. No version of capitalism is the realm of democracy, freedom, or justice. Capitalism is a social system in which direct coercion guaranteeing economic exploitation of the ruled by the rulers is incorporated into the economic relation itself. “Freedom” is the form of appearance of a historically specific system of class domination and exploitation.

Povezanost slikovnih i pojmovnih svojstava ugla i kocke u geometrijskom rezonovanju budućih učitelja

Drawing upon Fischbein's theory of figural concepts, the starting point of the paper is the use and value of the history of geometry in mathematics education - first point that we make historical reference are theorems of Eudemus of Rhodes and Thales of Miletus and the second one is elaboration of these theorems in work of Serbian mathematicians Mihailo Petrovic Alas. Fischbein's theory is mainly based on a hypothesis that geometry deals with mental entities, the so-called geometric figures, which simultaneously possess conceptual and figural properties. Fischbein called the geometric figures figural concepts because of their nature. We have analyzed the internal tensions of the concepts of angle and cube, which may appear in figural concepts because of their double nature, developmental aspects and didactical implications. The goal of the research was to examine the pre-service primary school teachers' geometric reasoning regarding the correlation between figural (pictoral) and conceptual properties of geometric objects (angle and cube) in order to obtain a framework for creating didactic situations that reduce the gap between figure and concept. The results of this study show that the figural (pictoral) structure of an angle (and cube) dominates in the geometric reasoning of the pre-service primary school teachers over its formal conceptual constraints. There were some differences in situations when an image is helpful in solving tasks involving the concepts of the net of the cube and the cube itself.

Концепты СКУКА, ТОСКА, ГРУСТЬ и ПЕЧАЛЬ в языковом сознании современной молодёжи

The work is devoted to the study of semantic content of negative emotional concepts of Boredom, Anguish, Sadness and Sorrow in the language consciousness of modern Russian youth. The theoretical basis is the doctrine of V.V. Kolesov (conceptology), the provisions of which de-termine the algorithm of the study. The research material is a survey of native speakers of the Russian language, based on the analysis of which adjectives and predicates are identified and classified, and the figurative concept and semantic constants of these concepts are obtained. Comparative analysis of the concept of the considered concepts in the modern Russian consciousness and their interpretation in the Dictionary of Russian mentality is also provided. The interpretations of the concepts under study in the Dictionary of Russian mentality and in the minds of native speakers differ in that the dictionary definitions reflect the conceptual content of the word, and the representation of these concepts in the minds of ordinary people has a more emotional and evaluative expressive color and is associated with the associative field.

Considering Value-related Concepts in Service-oriented Approaches to Marketing Studies in Light of Philosophical and Economic Value Theories

The concepts of value, value creation, and value cocreation figure prominently in service-oriented approaches to marketing studies, especially servicedominant logic. However, the meaning of these concepts is fuzzy and dependent on the theoretical context in which they are used. In addition, philosophical, economic, and sociological conceptualizations, among others, have affected the meaning of the concept of value. Harking back to Kant and Lotze, with reference to epistemology and ontology, this paper investigates the role philosophical and economic value theory can play in understanding value-related concepts in marketing studies and in the further development of marketing studies within the social sciences.

ВИДИ ПОЕТИЧНИХ ФІГУР (ШАБДАЛАНКАР) У ПОЕЗІЇ МІРИ БАЇ

This article addresses the issue of the types of poetic figures (shabdalankar) in the poetry of the famous poetess of the medieval socio-religious movement bhakti Mira Bai, namely, an important category of Hindi poetry – alankars, which help to express aesthetic emotion – racu. Therefore, their study is of great importance for characterizing the work of Mira Bai in general. Alankars are usually called rhetorical figures, and their close translation – "decorations" – corresponds to the most important European rhetorical category fully, which covers the concept of figures and paths ornatus. They adorn the sound and meaning of the word and help to show aesthetic emotion – racu. It was suggested to study the types of shabdalankar (form decorations) in the poetry of Mira Bai. It was reviewed such shabdalankars as anupras (alliteration), yamaka (lexical repetition – "consonance"), vacrocti and shlesha (some types of paronomasia – "combination"). It was found that in the verses of Mira Bai there are mainly two of them – anupras and vipsa. A feature of the formal side of Mira Bai's works is miserly use of poetry adornments, since the poetry's verses are a cry of the soul, they reflect the unbearable pain of separation from her beloved Krishna. In such a state of mind, Mira Bai was not up to artificial decoration and play on words. If individual alancars appear in her poetry, it happens completely at ease. Only one of several shabdalankar dominates in the verses of Mira Bai, namely: anuprasa, which helps the poetess through the melody of the verse to create the mood she needs and clearly show the aesthetic emotion of love – the shringar's racu.

Асоціативно-образний концепт світ у художньому дискурсі Мирослава Дочинця

Recently, cognitive studies in Ukrainian linguistics have been widely developed. Linguists pay special attention to the isomorphism of language and thought, language and culture, investigating the processes of spiritual reflection of the world through the word, and consider language as a system of worldview. The phenomenon of constant spiritual culture is examined in the research of A. Stepanov. It is also worth focusing on the concept of the world as a special linguistic and cultural-mental phenomenon in the artistic discourse of Myroslav Dochynets, in particular, in his novels “Krynychar” and “Maftey”. The purpose of the present paper is the analysis of associative and figurative concept of the world in the artistic discourse of Myroslav Dochynets. The objectives include identifying the body of epitheic, metaphorical and comparative structures of the concept “world”, finding out their functional and stylistic load, and contactive colouring, outlining the place in the system of author's pausing. The language of literary texts written by Myroslav Dochynets is characterised by his artistic vision. This pattern is traced in the image of the world. The analysis enables to state that the associative and figurative structure of the concept “world” in the artistic discourse of Myroslav Dochynets is syncretic. It has been singled out that author's linguistic representation is based on the inherent Ukrainian sacramental perception of the world (the world returns to its circles).The original content of many metaphors motivates the traditional artistic comprehension of associative identification, inter alia, world – joy (The world belongs to joyful), and world – grief. The metaphorical motifs of the unity of a man and the world reveal the cognitive model man – world (the world did not accept me) special ethno-linguistic value has this segment of silence, the image of the world is presented through the prism of language-national symbols of Ukrainian culture. The prospects of further investigations lie in the study of contextual manifestations of grammatical units in the artistic discourse of Myroslav Dochynets.

PEMBAHARUAN HUKUM ISLAM DI INDONESIA DAN TOKOH-TOKOHNYA

The emergence of new problems or problems in the community that really need legal clarity, all of which have not been answered in either the Qur'an or the Hadith, in connection with the cessation of revelation and the death of the Prophet Muhammad who acted as a mediator between revelation and the reality that lived at that time. The renewal of Islamic law is the solution, the purpose of this paper is to find out the concepts of Islamic law reform and figures who contribute to the renewal of Islamic law. The type of research is descriptive qualitative with library research, namely research that is directed and focused on the study and discussion of library materials that have to do with the problem being studied, Overall, the renewal of Islamic law in Indonesia runs rather slowly compared to other Muslim countries, especially in the Middle East, North Africa, India and Pakistan. However, the realization of the marriage law number 1 of 1974, government regulation number 9 in 1975, Government regulation number 10 of 1983, government regulation number 28 of 1977 concerning the ownership of land, and the realization of the compilation of Indonesian Islamic law in 1991 were the dynamics of renewal of Islamic legal thinking that must be grateful, as for the characters and the ideas are: 1) Hasbi Ash-Shiddieqy (Indonesian Jurisprudence); 2) Hazairin: Indonesian National School; 3) Munawir Syadzali: Reactualization of Islamic Law; 4) Ibrahim Hosen: Making Nash Qat'i fun; 5) Ali Yafie and Sahal Mahfuz: Social Jurisprudence.

Postkolonialna krytyka koncepcji typów idealnych Maksa Webera

This text discusses the main themes of the postcolonial critique of Max Weber’s sociological theory. Beginning with a sociological interpretation of the concept of a classic figure, the author lists the reasons why Weber should be recognized as the theorist most responsible for sociology being considered in separably connected with Western imperialism and colonialism. The author first reconstructs the premises Weber used to support sociology’s claim to be a science of universal validity, then interprets his concept of the ideal type and discusses criticism of the concept, as exemplified by the works of the British sociologist Gurminder Bhambra. In analyzing postcolonial critiques of the ideal type as a methodological tool, two issues are emphasized: the normative hypostasing of the ideal type, and the disruption to Weber’s procedure of creating and critiquing the ideal type that has occurred as a result of representatives of non-Western cultures joining the dialogue and revealing the limitations of the type’s communicativeness and thus of its universal validity.

On the meaning and novelty of impressionistic thinking on the example of Russian animalistic sculpture of the late XIX – early XX centuries

This article dwells on consideration of Russian animalistic sculpture of the late XIX – early XX centuries, representing a new plastic thinking and figurative system. This important historical period, that was marked by the development of Russian impressionism in sculpture, had a fruitful effect on animalistic plastics. By this time, the animalistic sculptural genre, which had fully established itself in its stylistic figurative system, at the turn of the century had experienced something new. We are talking about fresh way o thinking and look as at the plastic itself as at the object of the image. Sculpture has never been of such a «dynamic» quality and the animal image in sculpture has never been perceived so fleetingly before. ЗHere is a figurative concept that encompasses all the fine lines of the semantic significance of animalistic plastics. It is characterized, first of all, by the fact that the image begins to acquire greater symbolic ambiguity and meaningful subtlety. The main purpose of this article is to пTo track the meaning and the novelty of impressionistic thinking in animalistics by the example of the works of A. Golubkina, P. Trubetskoy, N. Andreev, V. Domogatsky. It’s noted that the novelty of the impressionistic thinking in animal sculpture is based on a «movable» plastic and «metamorphoses» impressionistic thinking in animal sculpture is based on “movable” plastic and “metamorphoses” of the sculpture shape and the process, which takes place in animalistics, reflects a significant side of the development of Russian sculpture of the late XIX – early XX centuries, opening up new perspectives and solutions.

The Diffusion of the Concept of Public Figure in China

This article considers how and why the legal concept of public figure, which holds public figures to a higher standard that makes it more difficult for them to recover damages when suing for libel, has been diffused in China. The public figure concept developed in the U.S. context as an extension of New York Times v. Sullivan from public officials to public figures, reflecting the deeply embedded value of freedom of expression. Despite authoritarianism in China, the concept was adapted in the rulings of some local courts to define the limits of the right to reputation. The diffusion was a response to a stream of litigation against media organizations. In the process of diffusion and adaptation, courts have acted strategically to reshape the public figure concept and refashion its justifications. Given the political constraints on courts in authoritarian China, they have been careful to avoid applying the concept to public officials, and instead have applied the concept to public figures such as celebrities. The diffusion of the concept in China sheds light on theories of legal diffusion more broadly, by illustrating how the process of diffusion can be bottom-up and open-ended, and how it can occur even in a counter-intuitive case in which there are significant political and ideational differences between the two countries.

Text-forming potential of dialogue and dialogism figures in lyrical works A.A. Voznesensky and R.I. Rozhdestvensky

The content and correlation of the concepts of dialogism, dialogue and figures of dialogism have been clarified. The text-forming potential of dialogism, in particular, dialogue itself and figures of dialogism (rhetorical appeal, rhetorical exclamation, rhetorical question and question - answer structures) in the lyrics of A.A. Voznesensky and R.I. Rozhdestvensky is revealed. It is shown that the category of dialogism in lyric works is realized through the microfields of the addressor and addressee and their interaction. It is established that the text-forming function of the figures of dialogism and other indicators of dialogism can receive replicative and non-replicative manifestations in the lyrics. In the first case, the poetic text can either include a series of remarks of considerable linear extent, or be divided into dialogical nity or remarks without a remainder. With the non-replicative embodiment of dialogism and figures of dialogism, voluminous fragments of direct speech (monologues) expressing the dialogical interaction of the points of view of communicants can be included in the lyric work; the text may entirely constitute an appeal to one or another addressee (-s); finally, a poem can contain a detailed answer of a lyrical hero to a particular problematic question. Dialogism, and in particular the figures of dialogism, express in the lyrics of A.A. Voznesensky and R.I.Rozhdestvensky a general attitude towards the wave of the addressee, the authors' desire to become closer to their reader, to communicate with him as an equal, to take into account his opinions, interests, and requests.

The Articulation of Public Problems within a Communicative Figuration Approach

This article proposes an analytical shift in the theorization of public problems, from the standard (institutional) constructionist view which has informed the tradition of conceptualising social problems since Spector and Kitsuse’s classic work, to a communicative constructionist view, stemming from the mediatization paradigm. The rationale behind this shift is based on the conceptualization of the relation between various types of actors as claim makers and the logic of visibility governing processes of publicization in a media ecology marked by accelerated development. If, in the new communicational landscape, claim-making activities can turn any new-media user into a potential constructor of public problems, then we need to explain how developments in media technology reconfigure the practices of claim-making. In our understanding, such reconfigurations are just a particular case of the socio-cultural processes of transformation which are the focus of the mediatization paradigm.
 On the other hand, in a Foucaultian tradition, a shift from problems to problematizations is required in order to account for the processual dynamic through which certain phenomena are analysed under specific circumstances and at certain times, while others are ignored. This shift leads to an understanding of communicative figurations as a meta-theoretical framework for the construction of public problems, accounting for the interdependencies between articulations of public problems and the dynamics of the public sphere.
 With this aim in view, we first identity and evaluate the theoretical directions that are symptomatic for the transition from social problems to public ones and from problems to problematizations. In the second part, we present the heuristic potential of the concept of communicative figurations for our topic and articulate some methodological implications for a research agenda.

Philosophizing with a historiographical figure: Descartes in Degérando’s Histoire comparée des systèmes de philosophie (1804 and 1847)

The writings by the ‘state philosophers’ of nineteenth-century France are often seen, either as entirely driven by political or ideological concerns, or reduced to mere history of philosophy. Hence, ironically, those who established the philosophical canon that still now informs philosophy teaching in France were themselves excluded from that canon. Using the heuristic concept of a philosophical figure, this article intends to show how, for these philosophers, historiography represented a seemingly inoffensive, but in reality, extremely efficient means of searching out philosophical alternatives to the institutionally dominant philosophy of Victor Cousin (1792–1867). Focusing on the almost forgotten case of Joseph-Marie Degérando (1772–1842), I show how he used the philosophical figure of Descartes and how he used it to counter Cousin.

„Bei uns in Chaironeia …“

Abstract This paper analyses the conception of the speaker figures in Plutarch’s Quaestiones Graecae and Quaestiones Romanae and their relationship to each other and to the historical author. The analysis is based on the questions as to what extent it is actually possible to identify a conceived speaker figure in these seemingly note-like writings and if such speaker figure can be assumed to be a completely freely conceived character or is at least in some way related to the person of the historical author. The analysis of the Quaestiones Graecae reveals that the speaker in this treatise is conceived as a competent explainer of the Greek world. He is imbued with Greek culture, but shows no particular proximity to the author’s special interests and competencies. Only a reader who is deeply familiar with the author can discern his presence in some passages, which gives them access to a second level of understanding. The speaker of the Quaestiones Romanae, in contrast, is conceived as a conscientious researcher, who is interwoven with Greek culture and exercises restraint in addressing Roman issues. However, where Greek subjects are concerned, he can take a more pronounced position, thus exhibiting some proximity to the speaker of the Quaestiones Graecae. The analysis of such a passage makes evident that the speaker figures of the two treatises are identical and that their approach is essentially dependent on the subject contemplated. They can be considered as conceptions based on the historical author, whose presence, however, shines through in only some passages. This multi-layered speaker conception shows that both treatises are more thoroughly elaborated from a literary point of view and are more closely interconnected than often assumed by researchers.

Conceptualising Social Types and Figures: From Social Forms to Classificatory Struggles

The analysis of social types, such as the stranger, the marginal man and the folk devil, has a long, significant history in sociology and related fields. Although the social type concept currently enjoys a rather marginal status, in recent years the related concept of figure has been increasingly deployed in research. This article contends that Bourdieu’s work on classification and social differentiation can offer fruitful tools for a renewed focus on types and figures. To this end, it advocates a critical approach to the study of social types and figures in which they are conceived as social identities tied to classificatory struggles over meaning, value, recognition and resources between differentially positioned actors. The article also attempts to clarify the distinction between types and figures and discuss how they can be applied in research. The main arguments of the article are developed through a critical reading of key contributions to research on social types and figures as well as through the discussion of two empirical studies.