Imaginative Content Research Articles

Connection of individual typological features of personality with nature of dreams

Objective. To study the influence of the temperament, anxiety level, intro-extraversion index, the nature of emotions, the level of happiness and the presence of pathologies of sleep physiology in the individual on the frequency of dream production and their figurative content.
 Materials and methods. The research involved 100 respondents students of E.A. Vagner Perm State Medical University, the average age was 22.5 4.5 years. The study was conducted through anonymous questionnaires using the following personality questionnaires and psychological tests: Eysenck Personality Questionnaire, Comprehensive Sociometric Test: Emotions, Oxford Happiness Questionnaire (OHQ), Comprehensive Test for Detection of Sleep Disorders.
 Results. It was found that in 37,7 % of cases out of 100,0 %, the imaginative content of dreams and the frequency of their production directly depend on the temperament of the individual, the level of anxiety affects dreams only in 50,0 % of cases out of 100,0 %. The intro-extraversion index has a significant impact on the nature of dreams and manifests its effect in 61,6 % out of 100,0 %. The complete dependence of the imaginative content of dreams on the quality of emotions is observed in 57.0 % of cases; inversely proportional dependence is noted in 43.0 % of cases. It was determined that the level of happiness has a natural effect on dreams in 66.0 % of cases. Sleep disorders can affect both negatively and positively the imaginative content of dreams and their quantitative production. Assessment of the multifactorial influence of the students' psycho-emotional state showed that the most important role in the cumulative effect on sleep and dreams is played by the level of anxiety and temperament.
 Conclusions. Changes in the parameters of dreams are a consequence of the multifactorial interaction of individual psychoemotional characteristics and typological characteristics of the personality. Determination of temperament and registration of the level of anxiety of the individual can contribute to the prediction of the overall picture of dreams for use in psychological and psychiatric practice.

The Contents of Imagination

AbstractOur imaginings seem to be similar to our perceiving and remembering episodes in that they all represent something. They all seem to have content. But what exactly is the structure and the source of the content of our imaginings? In this paper, I put forward an account of imaginative content. The main tenet of this account is that, when a subject tries to imagine a state of affairs by having some experience, their imagining has a counterfactual content. What the subject imagines is that perceiving the state of affairs would be, for them, like having that experience. I discuss three alternative views of imaginative content, and argue that none of them can account for two types of error in imagination. The proposed view, I suggest, can account for both types of error while, at the same time, preserving some intuitions which seem to motivate the alternative views.

Online-Intervention für Partner und Partnerinnen (PartnerCARE)

BackgroundPartners of people with cancer are supporters and affected persons at the same time. Existing psychosocial services (e.g., face-to-face therapies) are often not used due to time and logistical constraints. The newly developed online intervention PartnerCARE offers a low-threshold service for flexible use. The intervention includes psychoeducational, behavioral, and imaginative content and consists of 6 main sessions, a booster session, and 4 optional additional sessions. Participants are guided by an e‑coach through feedback. PartnerCARE aims to reduce psychosocial stress and increase quality of life.MethodsThe PartnerCARE online intervention, which was compared with a wait-list control group in a two-arm parallel randomized controlled feasibility trial, is reported. Online surveys of participants were conducted at three time points (baseline, posttreatment, and follow-up).ResultsThe PartnerCARE online intervention demonstrated good feasibility and high acceptance. In addition, initial potential evidence of PartnerCARE’s effectiveness was demonstrated.ConclusionPartnerCARE is the first German-language online psycho-oncological intervention developed and evaluated specifically for partners of people with cancer. With the help of the results of the feasibility study, the PartnerCARE online intervention will be optimized and then tested in a large-scale randomized controlled trial.

Современные социальные технологии конструирования государственной идентичности молодежи: потенциал образно-символической информации

The article is considers the place of figurative and symbolic elements of modern information space in the process of constructing the state-civil identity of Russian youth. The dangers threatening this process and related to the “digitalization” of modern society are analyzed. It is shown that the figurative and symbolic components of Russian culture have significant socio-technological potential in terms of solving the problem of leveling or compensating for those trends in the Internet space that pose a threat to the reproduction of positive state identity of young people. The question of the need to modify the content and forms of information policy in this area is raised. Particular attention is paid to the prospects of “imaginative content” of such forms of informational influence on young people as computer games and social advertising.

Representation of Moral Education Values In the Poems of Abū al-‘Atāhiyah (A Study of Genetic Structuralism)

The poem is one of the literary works that is often used as a medium to convey messages of life. Through rhythmic language and imaginative content it can stimulate feelings and thoughts about the meaning of life. Therefore, it is often used as an educational medium that is believed to effectively influence a person's behavior through moral and ethical messages. Among the collections of poems that contain the message of life are the poems by Abū al-‘Atāhiyah. This research aims to reveal in-depth the values of moral education contained in the 4163 stanzas of Abū al-‘Atāhiyah in the book entitled Abū al-‘Atāhiyah: Asy’āruhu wa Akhbāruhu, edited by Syukrī Faishal from the book Dīwān Abī al-‘Atāhiyah. This research uses a qualitative descriptive method with a genetic structuralism approach. The results showed six themes of life, namely death, worldly life, self-forget, ruler lifestyle, concern for others, and self-introspection. These themes show the formation of a person who has religious behavior, creative and healthy thoughts, honest behavior, hard work attitude in achieving goals, politeness, love of peace, tolerance for others, and responsibility.

Reducing Bias in AI-based Analysis of Visual Artworks

Empirical research in science and the humanities is vulnerable to bias which, by definition, implies incorrect or misleading findings. Artificial intelligence-based analysis of visual artworks is vulnerable to bias in ways specific to the domain. Works of art belong to a distinct cultural category that often prioritizes such characteristics as hand-craftsmanship, uniqueness, originality, and imaginative content; works of art are also responsive to diverse social and cultural contexts. Ascertaining which features of an artwork can be rightly ascribed to an objective “truth,” without which the concept of bias is not even relevant, is itself challenging. Incorporating expert knowledge into machine learning applications can help reduce bias in final estimates. We review several sources of bias that can occur across different stages of AI-based analysis, protocols and best practices for reducing bias, and approaches to measuring these biases. This systematic investigation of various types of bias can help researchers better understand bias, become aware of practical solutions, and ultimately cultivate the prudent adoption of AI-based approaches to artwork analysis.

ПРИНЦИПЫ МОДЕРНИЗМА В АРХИТЕКТУРЕ ТОРГОВЫХ КОМПЛЕКСОВ 1960-1980-Х ГГ. В ГОРОДАХ ЮГА РОССИИ

The 1960-1980s is the time for the development of the wide architectural and construction practice of the Soviet Union of the techniques and methods of world modernism, the adaptation of world experience to the special socio-economic and political circumstances of the country. The public and shopping center on Kalinin Avenue in Moscow is one of the demonstrative experiments in Soviet architecture. It illustrates the functional-typological and spatial-planning findings of XX century architecture, demonstrates the attitude of modernism to the historical urban environment and at the same time fully meets the image of modernity in architecture. It shows the relationship of modernism to the historical urban environment. This ensemble has become an example to be repeated in many cities of the country, including in the South of Russia. The article is devoted to the architecture of the Krasnodar Book House and the Shopping Gallery on Navaginskaya Street in Sochi. They are considered as unique examples of the organization of an extended citywide public and shopping center. The author has carried out a comparative analysis of objects in the context of world and domestic trends in the formation of a functional-spatial type, identified space-planning and formal techniques of modernism in their architecture. On the basis of the conducted field surveys, photographs, study of literature, historical graphic and photographic materials, the now lost original appearance of the objects is restored. Despite the differences in the degree of spatial complexity, functional and imaginative content of the complexes built in Sochi and Krasnodar, the nature of their integration into the historical environment of cities, both objects are typical examples of their stylistic and typological group and are endowed with common recognizable features.

Imagination-Based Loving-Kindness and Compassion Meditation: A New Meditation Method Developed from Chinese Buddhism.

Many loving-kindness and compassion meditation methods used in psychological research are derived from Theravada and Tibetan Buddhism. Zhiyi (), a representative figure of Chinese Buddhism, proposed a different meditation method, namely, imagination-based loving-kindness and compassion meditation. The current article introduces the imagination-based loving-kindness and compassion meditation proposed by Zhiyi and compares it with meditation methods from Theravada and Tibetan Buddhism. Zhiyi's method limits the content of imagination during meditation, which can be an essential supplement to the free association method derived from Theravada Buddhism. Zhiyi's method of helping others entirely through imagination differs significantly from the tonglen method derived from Tibetan Buddhism and may be more suitable for participants without religious beliefs. Based on Zhiyi's source text and previous psychological studies, a mental-health training program for imagination-based loving-kindness and compassion meditation is proposed. The limitations of Zhiyi's method and the future directions for empirical research on Zhiyi's method are also discussed. The differences between Zhiyi's method and other methods in terms of effects and applicable populations need to be examined in future studies.

Flowing magma bodies: towards a relational understanding of imaginative pedagogical possibilities

To contribute pedagogies that reimagine relationships in a more-than-human world I adopt a posthuman approach to map the content and expressions of imagination in a series of pedagogical events on Dja Dja Wurrung Country, Kooyoora, Australia. By working with Bennett’s concept of vibrant matter and MacLure’s generative data fragments I attend to the collective – student/teacher bodies, geological landscape, embodied actions, histories, passions and reactions – to interrogate pedagogical assemblages of an imaginative geological walk. In doing so, I explore what holds these assemblages together and what breaks them apart and follow the generative onto-epistemological forces at play. I do so with a posthuman lens to remain open to the possibilities of learning from, with, and in these educational entanglements.

Современный российский стрит-арт. Становление и развитие

The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.

Elementos constituintes da atividade do brincar: imaginação e imitação como síntese na ação da criança

O presente artigo é parte de uma pesquisa sobre a importância da atividade do brincar para as crianças em idade pré-escolar. Nosso objetivo é apresentar elementos que justifiquem considerá-la como a atividade principal deste período de vida das crianças, bem como compreender o papel que a imaginação e a imitação têm nas ações realizadas durante a brincadeira. Para isso, inicialmente apresentamos o conceito de atividade e atividade principal, fundamentados nos estudos de Vigotski, Leontiev e Elkonin. Na sequência, discorremos como a imaginação e a imitação constituem uma unidade no momento da brincadeira, resultando, desse modo, na ação da criança durante a atividade. Ao final do texto, apresentamos nosso entendimento de que é por meio desta atividade que as crianças da pré-escola se apropriam das atividades tipicamente humanas e da cultura, representando nas brincadeiras de papéis sociais as relações sociais das quais participam, e colocando em ação os sentidos produzidos por meio das experiências que produzem o conteúdo da imaginação e imitação.

The conceptual nature of imaginative content

Imagination is widely thought to come in two varieties: perception-like and belief-like imagination. What precisely sets them apart, however, is not settled. More needs to be said about the features that make one variety perception-like and the other belief-like. One common, although typically implicit, view is that they mimic their counterparts (perception and belief, respectively) along the conceptuality dimension: while the content of belief-like imagination is fully conceptual, the content of perception-like imagination is fully (or at least partially) non-conceptual. Such a view, however, is not sufficiently motivated in the literature. I will show that there are good reasons to reject it and I will argue that both varieties of imagination involve fully conceptual contents (independently of whether either perception or belief has non-conceptual content). I will suggest an alternative way to draw the distinction between perception-like and belief-like imagination along the conceptuality dimension, according to which only perception-like imagination requires observational concepts.

The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture

The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture

G.F. Handel’s arias in the academic repertoire of the modern singer (performance aspects)

The purpose of the article to identify the place and role of Handel'sarias in two types of contemporary academic performing practice:vocalists and bandura singers, by analyzing the actual concert and trainingrepertoire. The series methods of this study are based on the application ofperforming and comparative analysis that allows us to considerinterpretations of Handel's works. Particular attention is paid to methods ofempirical nature, namely the interview, which helps to summarize theissues of this topic of the article. The scientific novelty of the article is toreveal the peculiarities of using the arias of Handel, relevant tocontemporary concert vocal and bandura art, which have not yet appearedas research material. Conclusions. The analysis of Handel's popular ariasby well-known singers of today and the tendency of their interpretations inbandura creativity indicate that these compositions are very useful andconvenient from the point of view of developing not only stage stamina,stylistic conformity, but also the musical thinking and creative skills of theperformers. The vocalist, who sings by the accompaniment, has theopportunity to concentrate on the technology of vocal performance, theembodiment of imaginative content of the composition, artistry, while thebandura singer develops polyphonic thinking when performing thecomposition, following the development of each line. In this aspect, it isworth noting that the practice of using bandura-singer Handel’s arias inconcert activities implies the experience of his own instrumentalaccompaniment, which develops the skills of controlling the sound balanceof vocal and instrumental parts and practice of editing and arrangingmusical text.

Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance

Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.

Names and Tales: On Folklore and Place Names

Names, like stories, are linguistic performances; so the twin disciplines of folkloristics and place-name studies can learn from each other’s methods. Some names offer straightforward evidence for traditional culture, but others are rhetorical, not literal. Allusions to goblins, giants, and the Devil derive from playful storytelling rather than supernatural belief, while names of landmarks are used as pegs on which to hang local legends. The rules for coining names have varied through time and often use special linguistic markers to highlight moral or imaginative content. As we move into a more semiotically aware onomastics, we find ourselves interpreting names from a realm of popular idiom and allusion which is already familiar from folklore.

THE INSTRUMENTAL PHENOMENON OF TROMBONE IN EUROPEAN MUSICAL PERFORMING ART

The purpose of this exploration is revealing of some characteristic, maximally peculiar features for artistically expressive, constructional nature of trombone, as the more unique, universally perfective instrumental phenomenon in the sphere of European musically performing art. The target of this denoted disquisition is also popularization of professional orchestra, ensemble and solo playing trombone in synthetic nature of modern postmodern culture. Methodology represented the scientifically investigative work is formed by author into applying of historical, comparative, axiological and structurally analytical research’s methods. The empirical methods such as association and generalization acquire the important significance. The appeal to structurally functional method in the process for studying of denoted theme has particular importance, because the role of instrument, its functional meaning in definite culturally historical period is lighting the instrument’s artistically singular traits. The scientific novelty of this investigation is conditioned by the view to biggest historically retrospective observation of the trombone’s evolution with the simultaneous detection its uniquely natural, perfectively universal constructional and artistically expressive qualities, possibilities for reflection of ideally imaginative content in reference to professional musical compositions. Conclusions. The naturally formed into constructional perfective specificity the technique of playing trombone established fundamental bases concerning universality of the instrument in duration all the period of its existence. The unrestricted, maximally closing to vocal performing the artistically expressive means of trombone in the all culturally historical periods for widest development of musical art is generated by natural capability for chromatization of sound scale on the all trombone’s diapason, in result applying the specific connecting line mechanism.

Messiaen analyzes Messiaen: author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus»

Messiaen analyzes Messiaen: author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus»

Жанровая образность в поэтике фортепианного искусства ХХ века

Опираясь на философские, психологические и музыковедческие представления об образном содержании, жанре и стиле музыки, на метод жанрово-стилевого анализа музыкального текста, автор выводит определение понятия «жанровой образности», выявляет стилевое основание данного вида художественно-образного смысла музыки, отмечает особенности отношения композиторов ХХ века к жанровой основе музыкального творчества, подчеркивает значение стилизации в поэтике современной музыки и анализирует проявления жанровой образности в цикле Д. Лигети «Musica ricercata». Полученные выводы позволяют планировать разработку методов освоения современных произведений в процессе обучения пианистов.

Consumer imagination in marketing: a theoretical framework

PurposeImagination is a complex mental process where consciousness departs from reality to create new content not currently found in existence. Imagination is key to marketing persuasion, but studies that examine consumer imagination in response to marketing messages illustrate confusing and sometimes contradictory perspectives about consumers’ mental processing. This paper aims to provide a review of the existing literature on consumer imagination relevant to marketing scholarship, and builds a new theoretical framework to organize and explain these papers.Design/methodology/approachA systematic review of the marketing literature was undertaken to identify all papers related to consumer imagination and its role in marketing persuasion. A focus was placed on empirical papers, review papers and meta-analyses.FindingsA new conceptual framework was created to classify the consumer imagination literature based on both the characteristics and the content of imagination. The existing marketing literature was then organized into the framework. The framework helps to explain seeming contradictions between different studies as well as helps to collect similar studies together to summarize schools of thought.Originality/valueThe imagination framework presents an entirely new way of conceptualizing imagination research in marketing. This new categorization structure not only clarifies consumers’ use of imagination in response to marketing messages but also identifies questions for future research in this area of marketing theory.