Creative Possibilities Research Articles

Transforming Textuality

Late Antiquity witnessed a revolution in textuality. Numerous new technologies transformed the practices through which readers accessed written knowledge. Editors reconfigured existing works in order to facilitate new modes of access and new possibilities of knowledge. Despite recent investigations of late ancient knowing, tables of contents have been neglected. Addressing this lacuna, I analyze two examples from the early fourth century: Porphyry of Tyre’s outline of the Enneads in his Life of Plotinus and Eusebius of Caesarea’s Gospel canons. Using tables of contents, Porphyry and Eusebius reconfigured inherited corpora; their creative interventions generate and constrain possibilities of reading—sometimes in ways which run against the grain of the assembled material. I thus argue that Porphyry and Eusebius employed tables of contents to structure textual knowledge—and readers’ access to it—by embracing the dual possibilities of order and creativity in order to offer new texts to their readers. This dual function—of affording structure and inviting creative use—was significant in the construction of composite works which characterized much late ancient intellectual production. The examples of Porphyry and Eusebius illuminate broader late ancient practices of collecting and cataloguing textual knowledge.

Creativity in science: A dilemma for informal and formal education

AbstractInquiry learning pedagogies have not only been proposed as a successful teaching methodology to draw students into science, they are also rich with possibilities for creativity. The particular focus on investigations and problem‐solving provides opportunity for educators to embrace this. The primary curriculum explicitly values creativity in this regard, linking with inquiry, and problem‐solving. In recent years, science outreach carried out by universities in the Republic of Ireland has played a significant role in the formal classroom as a support to primary science (KS1). This article explores the perceptions of these two educators in the primary classroom, teachers (N = 31), and science outreach practitioners (N = 30), with respect to their theoretical stance on the construct of creativity and secondly their application of creativity in practice. The interview method used engaged research participants in a dialectical analysis of conceptual and pedagogical dilemmas. This unique, primarily qualitative methodology, provides evidence to differentiate perspectives of these two groups. Results indicate that participants generate new understandings by engaging in dialectical reflection and critical analysis of the two binaries. They also reveal that although outreach practitioners and teachers align in their perception of the theoretical model, that outreach practitioners are more favourable towards promoting a more creative environment for science in practice.

Husserl’s Phenomenology And the Problem of the Future: Towards a Practical Approach

ABSTRACT In spite of the supposed lack of attention paid to it by Husserl in his early works on time, the future is an important topic for phenomenology that gains increasing relevance in his late works. Regarding the experience of the future, phenomenology can approach the subjective possibility of anticipating what is not yet given, both actively and passively. A new perspective on the subject’s relation to the future arises thanks to the consideration of practical phenomena. What is at stake here is the possibility of doing something with what is not yet given. In this sense, our principal concern is to contextualize Husserĺs reference to the relationship between willing and future in the framework of his more general analysis of the future; at the same time, we seek to answer a question that arises in the analysis of time: the problem of novelty, and the possibility of creativity.

What is South East Asia? Emancipatory modes of knowledge production in Ho Tzu Nyen’s Critical Dictionary of Southeast Asia

ABSTRACT With his on-going, and probably endless, series Critical Dictionary of Southeast Asia, Singaporean artist Ho Tzu Nyen questions today’s representations of South East Asia and attempts to embrace the region’s plurality, fluidity, complexity and intangibility from an artistic perspective. Based on academic research, the series embodies the artist’s effort to convert and transform the outcome of his research into multisensorial and empirical art forms. As such, the Critical Dictionary brings forth new creative possibilities and innovative epistemological languages that challenge today’s modes of knowledge production, and in particular a form of rational and scientific knowledge that dominates our society.

Working Creatively Across Media, Language and Location: East Africa–UK Literary Collaborations

In 2016, the British Council launched their annual new Art new Audiences (nAnA) grant programme — an open call for cultural producers in East Africa and the UK to apply for up to £30,000 to collaboratively create. This interview piece shares a series of conversations with literary producers from three nAnA-funded projects — all of which brought together writers and visual artists in East Africa and experimented with visual, sonic, and textual forms. I begin by talking to Ugandan poet and zine-maker Gloria Kiconco, about her work on ‘Zine Futures’ awarded a nAnA grant in 2016. This project was conceived by Sarita Mamseri (Founder of Bookstop Sanaa), and worked with artists in Kampala and Dar es Salaam to explore the creative possibilities of the zine form through workshops and exhibitions. Eligibility for the nAnA grants necessitated forming partnerships between a UK-based individual or organisation, and individuals or organisations in two East African countries (the programme was expanded in 2019 to applications from creative producers in West and Southern Africa). The second interview explores a publishing collaboration I was directly involved in as co-director of Kigali-based Huza Press, when, in 2017, we were awarded a grant to create multimedia imprint ‘RadioBook Rwanda’; I speak to lead collaborators Louise Umutoni, Director of Kigali-based Huza Press; Lily Green, Director of Bristol-based No Bindings; and Otieno Owino, formerly Editor at Nairobi-based Kwani Trust. ‘RadioBook Rwanda’ produced three beautiful pocketbook editions which set new short stories in English and Kinyarwanda by Rwandan writers – Mutsinzi Eric, Annick La Reine Shimwa and Jimmy Tuyiringire – in conversation with artwork from Kenya’s Nduta Kariuki and Jess Atieno, and Rwanda’s Souls. Each of the three pocketbooks came with an invitation to dive into their universe not only through their pages but through a podcast built around each book’s themes: from relationships to modern myths to resistance. The final conversation is with London-based Somali poet Sumia Jaama who founded Sawti — a literary project aimed at exploring and showcasing linguistic and cultural diversity evident across East African storytelling on the continent and within the diaspora. Awarded a nAnA grant in 2018, Jaama worked with collaborators across the UK, Tanzania, and Sudan to produce workshops and a film, as well as launching a new multilingual poetry prize and zine. The nAnA grant model deliberately tries to move away from forcing individual UK and Africa-based artists to co-create, instead allowing scope for different models of collective cultural production. The range of exciting work that has come out of this – from the Jalada Mobile Literary and Arts Festival, to No Hats No Hoods Records’ ‘Ethiopiyawi Meets Grime’ collaboration with Ethiopian Records – is testament to its success. However, unsurprisingly, given the toxic and unjust legacy of British colonial violence, this interview series makes visible particular pressure points created through a funding model that enables innovative East African literary production but only through a relationship with the UK. While reflective of these complexities, and those of working within and across multiple media, languages, and locations, this series of conversations, which took place between Zoom and email over the first half of 2020, is ultimately richly affirming of the creative possibilities for independent publishers and literary initiatives working collaboratively.

Communication Trends in the Post-Literacy Era: From Human Creativity to the Creativity of Artificial Intelligence and Human-Machine Hybrids

The article is based on the materials of the Fifth International Theoretical Scientific Conference “Communication trends in the post-literacy era: polylingualism, multimodality and polyculturalism as preconditions for new creativity”, which took place at the Institute of Humanities in November 26–28, 2020. The authors analyze the main communication trends that have developed under the influence of the Covid-2019 pandemic in the sociocultural space in 2020. The main trend is the use of artificial intelligence in such areas of socioculture as communication, media, education. The concept of creativity is clarified, the creative possibilities and limits of human and artificial intelligence are considered, the threats and dangers of the artificial intelligence‘s development and its implementation in various spheres of human life are analyzed, such as education, socialization and inculturation, journalism and mass information, contemporary art, museum and exhibition activity. The conclusion is made about the need for further interdisciplinary research of artificial intelligence in the humanitarian sphere.

A Christology of Religions by Gerald O'Collins

Reviewed by: A Christology of Religions by Gerald O'Collins G. R. Willis Gerald O'Collins, A Christology of Religions. Maryknoll, NY: Orbis Books, 2018. Pp. 192. $36.00, paper. Whether or not "the religions" view one another with mutual regard now appears immaterial to the various problems—political, environmental, economic—that theologians of religious difference often claim to wish to help resolve. Theologians offer no evidence, for instance, if various religious leaders were to agree on policy recommendations (they often do), or were to confirm the value of the other religions (they often do), that such mutual agreement or regard would have the least effect on climate, migration, or economic policy-making (agreements and mutual religious regard seem to be of little consequence). Theologians of religious difference risk redundancy in an epoch when the sharpest human differences are not religious in any traditional sense of the term. Theologians should less often enjoy the assumption of their own, or their traditions', centrality to the problems of this century. If anything, our problems appear to be connected to the final disappearance of the authority of those traditions. [End Page 321] In A Christology of Religions, the Jesuit O'Collins offers an enormously thoughtful, richly textured, and widely sourced approach to those aspects of Christology—Christ's intercessory, sacrificial, efficacious, and universal priesthood on behalf of all persons, especially in their suffering—that might allow Christians to sense more clearly, and then participate in, Christ's salvific power on behalf of all. I deeply appreciate this unapologetically christological approach to religious difference, not least because so many theologians born in the mid-twentieth century appear to presume that the problem with Christians is that they are too committed to their own tradition. Would that this were the Christian problem of our time! That problem has, alas, been solved. O'Collins remains robustly christocentric, grounded thoroughly in tradition—his book begins from Athanasius's vision of "creation and incarnation as together forming one act of divine self-bestowal," and then deftly weaves together biblical, papal, and theological texts from across Christian eras, all the while showing how those resources of Christic incarnation press the Christian beyond the margins of his or her own community. This christocentric commitment alone is a relief from the long parade of theologians—many but not all of them laypersons—who have believed that it was their role to question a tradition's commitment to itself. O'Collins very helpfully suggests that it is through Christ that Christians must learn to see others. That this point should be offered as a contribution to the Christian theology of religions is itself quite telling. What this reader most appreciates in O'Collins's work is its relentless clarification of the christological in terms of priesthood—a neglected theological category in an era shadowed by clerical abuses, but one that powerfully entails sacrifice on behalf of others, the cross as the key to perceiving the situation of all human beings both within and beyond any given tradition, and intercession—a theme skillfully developed across two of O'Collins's seven chapters. (I was less persuaded by O'Collins's arguments that we could or should perceive non-Christian others as embodying an implicit faith. The faith or faithlessness of others is no obstacle to intercession on their behalf, and our prayer for the other should not depend upon the other's attitude.) There is a welcome tonal inspiration from Pope Francis in this work, which emphasizes a willingness to be with others—regardless of their tradition—in the midst of trial. The best theologies of religion remind us of possibilities more humble than telling the denizens of Davos what they should do with [End Page 322] their power. For O'Collins, a more creative possibility in our engagement with others (they need not be "religious" others) is that of prayer. I am persuaded by his suggestion that intercession is an overlooked, important path of mysterious but efficacious participation in God's saving power, and that this intercession should be regularly extended by Christians, through Christ, beyond the Christian community itself. [End Page 323] G. R. Willis Misericordia University, Dallas, PA Copyright © 2021...

ЭВОЛЮЦИЯ ПРОСТРАНСТВЕННО-ВРЕМЕННЫХ ПАРАМЕТРОВ АУДИОВИЗУАЛЬНЫХ ОБРАЗОВ В ПРОЦЕССЕ СОЗДАНИЯ ЭКРАННЫХ ПРОИЗВЕДЕНИЙ (НА МАТЕРИАЛЕ ФОТОГРАФИИ, КИНО, ТЕЛЕВИДЕНИЯ, ВИДЕО

On-screen creativity is a single cultural-aesthetic system, operating with the language of visual and audiovisual images, the basic source of which is inseparably linked with such categories of reality as space and time. Their special position is determined by the fact that they are attributes of the existence of life forms and without their reflection any on-screen creativity becomes impossible. At certain stages of its historical evolution, screen creativity grew by new typical formations. The photography appeared first, then the cinema, and later on television, in the depths of which, after a while, the video was parted. Each new type at the level of space-time relations with the reality preceeding the camera formed its own special principles of screen narration. At the same time, they depended on the features of the new technological system, and on the dominant modes of visuality on an individual and collective levels. In this process, the cultural-aesthetic progress in on-screen creativity was reflected. The general logic of the relationship of the author of the screen work and the displayed reality in terms of its on-screen chronotope organization has evolved from a single, instantaneous discretization of it, to a total space-time continuity. From the author’s point of view, the more speculative picture of this process looked as follows: the photographic chronotope is characterized by a single spatial appearance of the displayed object and its temporary immobility (static); the cinematic chronotope is characterized by an editorial multiplicity of forms of the displayed object, which recreates conditional space and conditional time on the screen; the television chronotope is characterized by a simultaneous multiplicity of forms of the displayed object, which recreates the conditional space and real time on the screen; the video chronotype is characterized by a continual multiplicity of shapes of the displayed object, which recreates real space and real time on the screen. It is obvious that the evolution of screen creativity stimulated the development of new creative possibilities in terms of the spatial and temporal organization of audiovisual images, which in turn contributed to the establishment and enrichment of specific cultural aesthetic formations. Their common aspiration was focused on achieving natural integrity and authenticity in presenting life forms on the screen.

Belfast Interregnum: walls, voids and forward to new ground and porous borders.

Good cities reward those who walk, looking outwards and upwards, and reflecting on the paths taken and on the sauntering asides that open an easy relationship with the city and its neighbourhoods. The Spanish paseo and the Italian passeggiata are, of course, as much about meeting friends and family as about using the connecting streets and passageways between one part of the city and another, and such act of walking is liberating, enjoyable and important in the making of place. Belfast does not, in many neighbourhoods, have that easy, social connectivity. The once easy cross-city network of minor streets is, in large part, gone. Interface walls, motorways, and other barriers and separation devices are not overtly visible in the commercial city core but continue to define key emblematic neighbourhoods. And the growth of smallscale political tourism manifested in several bus, black-taxi trails and short neighbourhood walks to visit the interface areas and their walls, have potential result, unfortunately, that such walls, as artefacts of conflict, could tend towards permanence. As one of many post-conflict cities, Belfast is still emerging from its historical and localised condition of manifested deepseated sectarianism, where identities and allegiances are linked to a strongly held sense of ownership of territory. Hence, the reluctance to build in void spaces that could help resolve the housing crisis and be model for housingled regeneration and model for developmentpartnering for change with the public, private and community sectors. The once daily reality in the small nurture-field city-of-camouflage and the desire for a more-connected city and neighbourhood does, however, have creative possibility, where conflict, friction, and collaborative opportunity –the collision and kiss of confluence– as creative act, can influence and impact one upon the other, that, as we know, sparks fly: alight. The spirit of self-help and community resilience, the confluence of history, cultural continuity, and an urgent need to act remains an opportunity for transformative change: for the making of new ground in an emerging city-form

A Different Kind of Labor: Writing in Prison

A Different Kind of Labor: Writing in Prison Ryan M. Moser “It’s never too late to become who you might have been.” —quote on a prison library wall The Writers Guild We called ourselves the Writers Guild: three raconteurs brought together by a creative writing workshop and our mutual passion for words. There were others in the class, but none as dedicated as us. Brad was quixotic, always stretching his vocabulary to defend the relationship with the soul; Ethan was my sounding board and a master of the metaphor, layering image upon image to deliver his messages of hope or loss; and I was the storyteller. Between us, we’d won the monthly short story contest six times in a row, besting our fellow classmates over and over with our collaborations. The workshop met once a week in an old classroom by the chow hall, and after returning to our cellblock, the three of us would sit in the noisy TV room at a small table comparing notes, establishing outlines, developing characters, and revising our work until it sparkled like a polished diamond. Some months, we would labor on just one story, toiling away by the faint night light in the cellblock hall or whispering comments back and forth; other months, we’d each write our own and pick the best to submit—a friendly competition within a competition. Trying to find a quiet place to study or write in a state correctional institution is difficult on most days, and impossible on some. We were lucky to have a space to meet at all. The Florida Department of Corrections has stabbings and drug overdoses almost every day, and these emergencies result in lockdowns with no movement to classes or programs. Everybody knows that when you see a wheelchair and two medical orderlies running down the sidewalk, or the Emergency Response Team (aka the goon squad) taking pictures of a crime scene, we’re about [End Page 85] to be sitting on our bunks or confined to our units for an indefinite amount of time. Violence is prevalent at many institutions in the state, so programs, volunteers, educational and technical training, and recreation time are scarce. With officers pulled in so many directions to address major problems, everything else stops. “What are you writing?” I would hear all day long from each passerby. Imagine sitting in Starbucks with every customer who walks past your table asking you a question about your work, even though you are wearing headphones. There were also constant interruptions for head counts, chow, and the daily fist fights that are a part of our struggle, but we were assiduous and produced some gratifying literary work. One month in 2018 I wrote an ekphrastic short story called “The Farmer’s Pond,” an autobiographical piece inspired by a photo of a young farmhand in a book about Amish life. The Writers Guild refined the plot and edited for grammar. We revised scenes on the weekends while everyone else played Texas Hold ’Em, watched football, or got inked with gang tattoos. Eventually, I was able to complete a final draft that everyone considered my best piece yet, and I basked in the glow of having finished my first quality short story. “This one has some real potential,” Ethan told me as we talked over lunch. “You should send it out to magazines.” I balked. I didn’t want to submit my writing to serious places because I knew I wasn’t as good as the other authors I’d read throughout my life, floating across the thought clouds of the sage guides before me— Franzen, Homer, and Burroughs. Basho and Keats. Hirshfield. The immortalized Jung. Self-doubt prevents me from even trying. But when my story won the monthly writing contest, I decided to take a chance. I mailed copies to several literary journals listed in my Writer’s Digest and felt like I’d taken a step toward something credible. The Writers Guild was my personal dream team, but the creative writing class was my favorite time of the week: it was my first formal workshop, and a glimpse into the possibilities of collaborative creativity...

Connecting with Children and Adolescents and Deepening Psychoanalytic Treatment: Creative Possibilities for In-Session Use of Digital Media and Devices

ABSTRACT Historically, child psychoanalysts and psychoanalytically-oriented child therapists have used games, toys, and art materials creatively to engage their patients, facilitate connection, and deepen treatment. Over the past two decades, screens and digital devices have become increasingly pervasive in the play and lives of children and adolescents. Although there are some well-founded concerns about the potential negative effects of screens and digital devices on child development, I take the position that the child analyst’s attitude toward electronic devices needs to shift from whether to use them in treatment to how to use them. In this article, I offer a series of case examples showing how screens and digital devices can be used in-session in productive ways akin to how child analysts have always used their creativity to engage with their patients.

Proposal for Group Intervention With Family of Users in a Mental Health Day-hospital Through Psycho-education

Objective: present a proposal for psychological intervention, through a therapeutic group, with the family members of users of a Reference Mental Health Service aiming at strengthening the institution / family bond. Methodology: The Arco de Maguerez was used, an instrument developed in the 70s and the basis for the application of the Problem-solving Methodology. In this methodology, the study takes place from a certain aspect of social reality and consists of five stages: the observation of reality, the key points, the theorization, the hypotheses of solution and application to reality. Results and discussion: It is proposed that the group be divided into three modules. Module I, Crisis in Mental Health, is designed to address issues related to the crisis (concepts and definitions, alerts and signs, creative possibilities of the crisis, among others). Module II, Family member as caregiver, aims to explore the role and responsibilities assumed by family members of reference in the context of the service user’s illness. Finally, module III, Caregiver Self-Care, aims to stimulate reflections and provide a moment of self-care. Final considerations: During the meetings, it is expected to create a space where family members can share experiences, aiming at strengthening the group to deal with the difficulties and complexities of daily life, as well as enabling a discussion on mental health and the search for strategies that ease the burden of care and the family’s suffering.

Representing the Self Through the Visualization of Personal Data

The representation of identity in digital media does not necessarily have to be conceived on the basis of criteria that mimic physical reality. This article presents a model for representing individual identity, based on the recording of human experience in the form of personal data, as an alternative to the common forms of mimetic portraiture. As such, the authors developed the project Data Self-Portrait that aims to explore the creative possibilities associated with the concept of data portrait. It can be described as a means of representing and expressing identity through the application of data visualization techniques to the domain of portraiture, according to an exploratory design approach, based on visualizing the digital footprint. It thus seeks to develop design proposals for representing identity that respond to the growing dematerialization of human activities and explores the representational and expressive role of data visualization, according to a creative use of computational technologies.

To the rhythm of feminine memory: Decoloniality and dissonance in the films of Assia Djebar

The late Algerian author Assia Djebar had published four novels in French before she famously retreated from writing for ten years. Disillusioned with the creative possibilities of her "step-mother tongue", yet reluctant to write in the formal Arabic she had come to associate with religious nationalism, the author turned to film to unearth the "buried voices" of Algerian women, whose accounts of occupation and independence in vernacular Arabic would reveal a rich alternative archive. Focusing on "the gaze" and "voice", two key concepts in Djebarian discussions of Algerian femininity, this contribution examines the destabilizing impact of Djebar's use of material images and sound, tracing the strategies of decoloniality and dissonance she carried into her later written work. Rather than recuperating Algerian women's voices to make up the gaps in the national/colonial archive, the article argues that Djebar's films dwell in the radical potential of irrecuperability, exploring new possibilities of feminine resistance from without re/presentation and History.

Extention of Creative Approaches Visual Artists by Augmented Reality (AR)

There are currently over 3.8 billion smartphone users in the world (Reference from 01.2021). Mobile technologies are becoming an integral part of our lives and this undoubtedly provides a large and diverse environment for the expression of artists from all fields. Mobile technology is changing the way we encounter art. They do it mobile and the term "on demand" is extended to "on the go". The works are becoming more diverse and innovative and every person with a smartphone is a potential user of art. Most modern smart devices are now able to provide Augmented Reality (AR) experiences. AR is already used by innovative brands in trade and marketing, but AR can, and is used, and will be used more and more in the art world. We will no longer associate the visual arts with just visiting art galleries or theater and concert halls. Technologies such as augmented reality (AR), virtual reality (VR), mixed reality (MR) or generalize Extended Reality (XR) open up new creative possibilities for artists and new experiences for the audience. This not only gives new sensations to the audience, but also frees the art from the gallery, thus reaching a completely new audience. Keywords: Augmented Reality (AR), Interactive Art, Visual Art

SOURCES OF THE FORMATION OF AHATANHEL KRYMSKYI’S LINGUISTIC PERSONA

The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots, an intelligent family of a teacher of history and geography and a Polish Lithuanian noble woman), and his unique abilities (the boy learned to read at the age of 3 and a half, had a phenomenal memory, and an analytical brain). A great role was played by the multilingual and multicultural places of dwelling and studying, namely the following towns and cities: Volodymyr Volynskyi, Zvenyhorodka, Ostroh, Kyiv (such languages as Ukrainian, Russian, Polish, and Yiddish were spoken there and different ethnic cultures cooperated), Moscow (A. Krymskyi was surrounded by the Russian, Ukrainian, and other languages; a Ukrainian community was actively working), Beirut (in the city, the Arabic, French, Russian, and other languages were spoken; there was a unique environment of Eastern/Oriental cultures). The formation of a polyglot was favoured by the study of classical languages, Western European, Slavonic and Eastern / Oriental languages at the secondary and higher educational institutions. The evolution of scientific abilities of the specialist in the Ukrainian, Slavonic and Oriental studies was supported by the highly professional teachers (first of all Pavlo Zhytetskyi in Kyiv and Vsevolod Miller, Oleksii Veselovskyi, Ihnatii Krachkovskyi in Moscow). The communication with famous people (Ivan Franko, Borys Hrinchenko, Omelian Ohonovskyi, Mykhailo Pavlyk, Lesia Ukrainka and others) intensified the Ukrainian vector of the linguistic persona of A. Krymskyi. Creative possibilities of the linguopersona-writer and translator are reflected in his literary and translation heritage (the collection of poems “Palm branches” (1901, 1908), “The Stories of Beirut” (1906), the novel “Andrii Lahovskyi” (1905, a full version was published in 1972), translations of the poetry by Hafez, Omar Khayyam, Saadi, Ferdowsi, Turkish folk songs and others into Ukrainian and Russian.

Сluster of design objects images in aesthetic and social, economic, and technological systems

Currently, there is no holistic concept of the creative possibilities of humanity and its civilizations, which confirms the relevance of this study. To create images of design objects – edged weapons, represented by visual-symbolic cognitive information dynamic systems (VKIDS) with locally stable structures (LUS) in the development of cognitive technologies of plastic arts and design, the methods of linguistic-combinatorial and tabular modelling were used. RESULTS: the morphogenesis of images of objects of design, represented by a cluster of bladed weapons and logotypes decor and marks of identification, as a result of cognitive technologies in the creation of SKIDS that provides a universal language of communication in relationships ontological and semiotic realities, which increases the growing importance of the plastic arts and design, focused on images of artefacts vintage and modern bladed weapons through the concepts of archetypes symbols and signs: system, taxonomy and classification.

Synthetic (Integral) Nature of Law Reaction to the Challenge of Leonid Pitamic

The essential elements of an integral conception of law are order and humaneness.<br>Pitamic’s challenge opens very broad creative possibilities. For the author of this paper, it is of special importance that Pitamic’s theory also fecundates the modern theory of argumentation in law. The methodological pluralism makes it possible to accept the theory of graduated legal order and to treat it contentually. It is of decisive importance to differentiate between the legal text and the understanding thereof. Acting in a responsible manner, one cannot avoid the arguments of understanding. The work of a lawyer is creative, yet it also burdens him with responsibility that has to be borne.

Understanding Law – an Answer to Leonid Pitamic

Pitamic’s contribution to the understanding of law ranges between the methodological purity of legal science and an integral conception of law. The methodological purity demands that one avoids mixing different thinking methods. At the same time, however, law as a pure normative structure must also have adequate material prerequisites. The essential elements of an integral conception of law are order and humaneness. The task of law is that, by regulating external human behaviour, it “ensures that people in a community live as human persons.” Pitamic’s challenge opens very broad creative possibilities. For the author of this paper, it is of special importance that Pitamic’s theory also fecundates the modern theory of argumentation in law. The methodological pluralism makes it possible to accept the theory of graduated legal order and to treat it contentually. It is of decisive importance to differentiate between the legal text and the understanding thereof. Acting in a responsible manner, one cannot avoid the arguments of understanding. The work of a lawyer is creative, yet it also burdens him with responsibility that has to be borne. The judge or any other decision-maker must be aware that, as Pitamic would say, hominum causa omne ius constitutum. If we deviate from this route, we betray law and its nature. If we remain on this course, we can contribute - sometimes more and sometimes less - to the rule of law. It would be naive to think that we shall reach the Golden Age the poet Ovid was talking about, but it is realistic to think that we shall be able to live reasonably securely.

Литературные кружки как инструмент строительства пролетарской культуры. 1920–1932 гг. (по документам отдела рукописей ИМЛИ РАН)

Workers’ literary circles of the 1920s originated from the Proletkult circles. Proletkult circles were free from formal structure and controlled by liberal community writers. Period from 1926 to 1932 became a transition from proletkult communitarianism, concerned with the utopian task of innovative proletarian culture construction, to generation of a powerful corporation, replacing creative possibilities with ideology. Artistic pursuit and development of artistic development became unnecessary. Circles were led by party writers. Archive documents of All-Russian Association of the Proletarian Writers show that, until 1926, VAPP circles taught workers literature process, language, poetics and work of fellow travelers. Until 1929 the main attention was paid at the political course of the Association’s management, massive participation, ideology, rejection of fellow travelers, creation of supporter’s community and new members recruitment — all of the aforesaid became the central point during that time. Circles broke up after 1932. Fear of being accused of collaboration with the Association of the Proletarian Writers, unwelcome for the party, was one of the reasons. Union of the Soviet Writers (SSP), founded in 1932, began reforming the work process of literary circles at factories and embraced circle experience of disbanded Association of the Proletarian Writers, using its ideas for new political and ideological goals.