Creative Principles Research Articles

ИНТЕРПРЕТАЦИЯ МЕХАНИЗМОВ ЖИЗНЕТВОРЧЕСТВА В ОТЕЧЕСТВЕННОМ ТЕАТРЕ XXI В.

The article critically analyzes a number of performances, the dramaturgical material for which is biographies, documentary texts presented in compilation with artistic, theoretical and philosophical works. The plays are conceptualized as stage interpretations of the life-creative programs of Vladimir Odoevsky, Leo Tolstoy and Konstantin Tsiolkovsky. The author also asks the question about the application by contemporary theatre-makers of the tools of mystification, mythologization and demythologization in the projection of performative comprehension of the text of human life. It is shown that the director with the help of this toolkit and by means of theater not only popularizes, but also creates a new cultural myth or debunks archaic notions about a major historical figure, detecting the points of intersection with the contemporary culture of estrangement. In such directorial decisions the staged biopics begin to sound like a total spectacle about the tragedy of life creation and its Mephistophelean and creative principles.

Смысл и значение финала драмы Фридриха Шиллера «Орлеанская дева»

The article deals with the final scene of the historical drama The Maid of Orleansby the German poet Friedrich Schiller. It is discussed in the context of the principle of subjectivity, which is one of the main principles for modernity as a macro era, as well as through the prism of a special understanding of history by the creators ofart of the second half of the 18th –early 19th centuries. The article aims to: analyze the final scene of the drama from the point of view of F. Schiller’s philosophical ideas reflected in his philo-sophical treatises and articles on history and poetically embodied in the Ode to Joy; identify the peculiar fea-turesof the image of the main character of the play, associated with the creative principles of the modern era and the subjective understanding of the historical personality by the playwright. The study revealed that of particular importance for F. Schiller’s works, both philosophical and dramatic, were Johann Herder’s reflec-tions on unity and the concept of pre-established harmony proposed by Gottfried Leibniz. It was found that the poet’s conscious retreat from historical reality when creating the final scene of the work was connected, on the one hand, with the specific representation of Joan of Arc as a person capable of recreating reality in a special way; on the other hand, with the individual-author’s awareness of the interrelationship of historical epochs, characteristic of the time of modernity, which made it possible for the poet to most clearly convey through dramatic action the idea of total unity, philosophically interpreted by him on the pages of treatises, which turns out to be especially significant for the early 19th century.

Когнитивное пространство художественного текста

The article deals with the problem of cognitive interpretation of a literary text in comparison of prosaic and poetic texts. The poem "Two" by Z. Gippius and the story "Scoundrels" by N. Teffi were chosen for the analysis. The analysis is preceded by a presentation of the main provisions of cognitive poetics, among which the most important can be considered the statement that a literary text is a trigger that generates knowledge associated with the author, reader and artistic discourse. At the same time, there is a significant difference between prose and poetic texts, in which different modes of the non-linguistic existence of an event are found: in prose, “events” are statements that line up in a linear sequence and do not predict each other; in verse, an “event” is a poetic line that predicts the form of the next line. The analysis of the poem by Z. Gippius, taking into account her other texts, leads to the conclusion that in its cognitive space the main concepts of love are earthly and unearthly, and the main method of forming this knowledge is referential ambiguity. The analysis of N. Teffi's story shows that other mechanisms of knowledge formation work in prose, in particular, the characters' direct speech reflecting their linguistic personality and attitude to love as adventures and women's behavior as deals with men who always turn out to be scoundrels. Written at the same time, the analyzed texts demonstrate the difference not only in the creative principles of the authors, but also the difference betw een prose and poetry. The results of the study demonstrate the possibilities of cognitive poetics, which is becoming an important direction in the study of literary text, both prosaic and poetic.

Ф. М. Достоевский и А. Н. Островский: к проблеме литературных источников характеров и коллизий в драме «Бесприданница»

The article examines parallels in plot and images between Ostrovsky’s drama “Without a Dowry” and Dostoevsky’s novel “Demons.” Ostrovsky’s remarks about Dostoevsky in the last years of his life reveal that he distanced himself from the creative principles of the author of “Demons.” However, gestures and remarks of the characters of “Without a Dowry,” such as Paratov, Vozhevatov, Larisa Ogudalova, as well as motifs and collisions connected with them allow us to suggest that while working on the drama, Ostrovsky was influenced by a “literary recall” of Dostoevsky’s novel “Demons” and its characters, namely Stavrogin, Petr Verkhovensky, Liza Tushina. The possible parallels between the characters in “Without a Dowry” and “Demons” are also indicated by their common biblical and literary prototypes: there are allusions to the Serpent-temtper, Hamlet, Prince Harry, Mephistopheles and Faust contained in the stories of Stavrogin and Paratov, allusions to the Serpent and Mephistopheles in the gestures and actions of Petr Verkhovensky and Vozhevatov, while allusions to Ophelia, Gretchen and Poor Liza can be found in the images of Liza Tushina and Larisa Ogudalova. Even despite the differences in the writers’ approaches, there are remarkable plot parallels between the two works, common components in the characters’ images, similar artistic techniques, which, in our opinion, are signs of a literary “dialogue” between the authors of “Demons” and “Without a Dowry.”

ДИАЛОГ "СЛОВЕСНОСТИ" И "ЛИТЕРАТУРЫ" В ИНДИВИДУАЛЬНО-АВТОРСКУЮ ЭПОХУ: ЕККЛЕСИАСТ И ТВОРЧЕСТВО Н.С. ЛЕСКОВА

The article is devoted to the issue of the interaction of sacred and artistic words in the individual author’s era. The purpose of the study is to trace how N.S. Leskov’s poetics reflected his attentive attitude to the originality of the biblical word. The material is the story “Languor of the Spirit”, the title and epigraph of which are quotations from the book of Ecclesiastes. On the basis of biblical and literary texts, the semantics of the combination “languor of the spirit” is determined. The study of the corresponding motive in Leskov’s story necessitated the analysis of the work based on the concept of the dialogue of “literature” and “language arts”, developed by S.S. Averintsev. The article indicates the main lines of comparison of the two creative principles formulated by the scientist. The features of “language arts” indicated by Averintsev are compared with the specifics of the genre, architectonics, plot, images of the heroes of Leskov’s story, thanks to which the dominants of poetics are established: an image of the world as an “olam”, an absence of portrait and landscape descriptions, a special concept of memory, an organization of the metaphysical perspective of the narrative around the motif of languor of the spirit. The results of the analysis allow to conclude about the interdependence of the elements of “literature” and “language arts” in the artistic creativity of the writer.

ОБ ЭВОЛЮЦИИ ОТНОШЕНИЯ АКМЕИСТОВ К НАСЛЕДИЮ СИМВОЛИЗМА

The article analyzes a number of poems by Acmeists, representative for the philosophical and aesthetic foundations and poetics of this movement in the Russian poetry of the Silver Age. The research attention is focused on reception dynamics, in particular, the legacy of symbolism, by the poets of the acmeistic direction. Acmeism in the study is interpreted, first of all, as post-symbolism: philosophical-aesthetic and purely artistic achievements of the older poetic movement of Symbolists became a foundation for their own artistic achievements. The Acmeists’ break up with the Symbolists was never absolute. The declared opposition to Symbolism left great opportunities for attraction and reliance on previous practicies and their direct use in the process of cultural and artistic transmission. Creative strategies of Symbolism have always continued to exist within the frame of the Acmeists’ activity, and since the 1920s sometimes they even determined the nature of their art. The article analyzes in detail the selected poems by A. Akhmatova, N. Gumilev, G. Ivanov, and G. Adamovich. In the article it is established that among the “younger” acmeists (G. Ivanov and G. Adamovich), compared with the older ‘Guild poets’ (N. Gumilev and A. Akhmatova), the attraction to the creative principles approved by the Symbolist poets is increasing. Representatives of the younger acmeist group can be defined as “those who overcame Acmeism” (in analogy with the well-known title of the article by V.M. Zhirmunsky “Those who overcame Symbolism”). The essence of this overcoming consists in removing the fundamental opposition of aesthetic attitudes and poetics of two movements: the symbolist impulse to the transcendent, supported by the corresponding poetic language, and the acmeistic requirement for the tangibility, convexity, material and bodily “heaviness” of the artistic image.

Акт как энергия и интенция поступка

The Middle Ages staged a grand experiment, showing in Revelation the clash of creative principles: divine and human, respectively real and actual. The given and the proclamation of the world generated а question of how to think inside this given. There has never been such a challenge before. A special logic of turning (tropology) was needed, which was able to recognize the actual world as a phenomenon of the hidden world, but communicated a powerful energy of searching for connections with it, possible through analogies, symbols, allegories. The release of creative energy through the word made it possible to discover the effectiveness of the Word. The emphasis of medieval Christianity on the energy of the Word, unfolded from reality and communed with it, assumed both an analysis of the good, the source of which was the sacred reality, and an analysis of evil, which consisted in worldly, profane actuality and left a sad mark in history, which still represents the Christian Middle Ages as a dark era. In medieval Christianity, energy was expressed through action-an act, force and intention, contributing to the understanding of any creative possibilities and abilities outgoing from the Creator of the world or created man. God the Creator is an unknown reality, the only true Thing (Res) that the world knows about in the image and likeness of created things and on the basis of evidence preserved in language. Thanks to such phenomena, the most important of which is the Epiphany, it became possible to build arguments in favor of the existence of God. The reality revealed in the actual world is evidenced by such states of human subjectivity as oblivion, i. e. the state of memory of that other event that lies behind the invisible beginning, visions, the ability to think, speak, listen, and perform actions (gestures). In any such accomplishment, the procedures for its execution continue to operate, not only what is actualized, but also the actualization itself. The idea of a gesture is considered as an intensely intuitive, internal action, a moral response to an act. The energy of making is concentrated in it, revealing both the theoretical significance of the judgment, and the intention and action of the subject as an actor of this judgment. Man is not only active by the status of a created being, but is also capable of self-construction, of changing himself, together possessing subjectivity and substantiality (substantia subiecta).

MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE

Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.

Creative Principles of Cultural Tourism Development in Ukraine

This research paper comprises a detailed view of the development of cultural tourism in Ukraine and the key principles are also analyzed transparently in this research study. The purpose of this article is the finding out about the economy and the strength of Ukraine in the field of tourism. The survey has been conducted for seeing what changes and innovations are required in the tourism industry for increasing the economy of the country. The results demonstrate a clear idea about the core principles of creative thinking that have been implemented to develop cultural tourism in Ukraine. For a detailed discussion, four thematic analyses have been mentioned and three surveys have been made and analyzed. The research methodology is actually based on the qualitative and quantitative analysis of the result of assessing the role of professionalism in tourism and hospitality and for training the employees for a better economy. The special survey has been done as a quantitative method and the theme has been used as a qualitative tool for analysis. Results actually demonstrated the research very well and showed that there is a need for an increase in technology. The innovation in technology leads to the growth in revenue and economy in the market globally. Inadequate communication has been found to be a gap that slows down cultural development, so communication also needs to be increased for better interaction with tourists. The practical significance of the result lies in the fact that the use of the proposed methodology is appropriate for application in the process of managing the sphere of tourism at the national level.

The film script as oral narrative of personal experience in Aleksandr Rzheshevskii’s oeuvre

ABSTRACT This article is devoted to the study of the film scripts by Aleksandr G. Rzheshevskii (1903–1967). In contrast to the concept of the ‘emotional scenario’, which emphasises the textual structure, this article suggests a reading of his scripts in connection with the problems of an oral narrative of personal experience. Such an approach allows us to consider important creative principles for Rzheshevskii’s work, in particular the link between the film script with biographical experience and orality, both at the level of composition and in the course of the presentation of the text. As compositional markers of oral speech, the article analyses elements of poetic syntax, indefinite pronouns, onomatopoeias, blasphemy and abusive terms, which are the result of storytelling about the events of the Civil War and its consequences.

Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1

"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "

Legal protection of architectural works: international experience

Traditionally, the construction of buildings and structures is carried out in accordance with previously prepared project documentation, the basis of which is made up of works of architecture. However, it should be noted that the legal nature of these objects has not been fully investigated. In particular, it is necessary to answer the question of what is the essence of such works and how their creative nature is manifested as a necessary element of legal protection. Traditionally, the very concept of "architecture" is associated with the creation of a new, beautiful, original and unique building. This is achieved by using previously developed structural elements, the set of which forms the architectural style. Hence, on the one hand, the difficulty lies in how to distinguish between a simple set of elements within one architectural style and a created, creatively completed object. It is necessary to pay attention to the fact that we are talking about works as a set of ideas, thoughts and images that have received, as a result of the author's creative activity, their expression in a form accessible to human perception. Thus, in terms of content, a work is an intangible good that is the result of creativity and has an objective form of expression. It is the creative nature of the work and the objective form of expression that should be considered as its features, which subsequently provide conditions for the protection of the author's rights. The main task of this article is to find out what is the creative nature and the objective form of expression in works of architecture. It is rather difficult to determine the creative nature of a work of architecture, since we are talking about a set of features that are characteristic only of a work. In addition, it is necessary to find out what the minimum level of creativity must be in order for a work of architecture to be protected by copyright rules. With regard to works of architecture, we can talk about the ability, characteristic only of the author of this work, to select architectural or structural elements. In addition, one can point to the individual author's layout and the ratio of space-planning solutions, expressed in the location of various rooms, decorating the facades of buildings with elements borrowed from various architectural styles. It is due to this kind of combinatorics of structural elements carried out by the author that the novelty, uniqueness and individuality of the work of architecture are achieved. Works of architecture cannot be completely equated with design results. For the emergence of copyright, it is necessary to have creative principles in the design object. The presence of creative principles is typical only for architectural and planning solutions. The construction project consists of working drawings, which, in fact, display architectural and planning solutions as a creative idea of ​​the author, and an explanatory note. It seems that copyright norms should protect only that part of the design object that contains architectural and planning solutions. Works of architecture must have an objective form of expression. It seems that the form of expression of this kind of works is the project. A building (structure) constructed according to the project cannot be a work of architecture or an object of copyright. The constructed building can only be considered as the second form of displaying the work of architecture, since the first is the project. Thus, from the moment of the creation of an architectural project, we can say that the work already exists, and therefore, it is the project that should be considered as a form of objective expression of the work of architecture.

INNOVATIVE PRINCIPLES OF FRESHWATER RESOURCES MANAGEMENT IN THE CONTEXT OF SUSTAINABLE DEVELOPMENT

About two-thirds of the world’s population may experience water shortages within several decades. Yet, in many countries, there is still a tendency to solve water scarcity problems by increasing water supply, increasing the storage and distribution of surface and groundwater through the creation of new infrastructure, desalination of saline or brackish water, reuse of wastewater, or recharge of aquifers. This trend should prevail over the focus on reducing water demand, for example, by stopping losses in transport and distribution systems, implementing adequate tariff systems aimed at reducing the level of water demand, changing water use technologies, and, in general, increasing the efficiency of water use in household, industrial trial and irrigation systems; in other words, seeking to improve overall water productivity. However, it is possible to overcome the water shortage through efficient and rational use while using innovative solutions that will significantly modernize the water resources infrastructure. Therefore, using creative principles of freshwater resource management in the context of sustainable development should become a perspective for the next ten years. The article aims to research the current state, regional features, and prospects for developing the innovative potential of freshwater resources in Ukraine. It has been proven that in Ukraine, the share of state budget expenditures for environmental protection of total spending ranges from 0.57 to 1.11%. It was determined that the largest share of state budget expenditures on environmental protection in total spending was observed in 2011 – 1.11%, and the smallest in 2020 was 0.57%. It is noted that in 2020, the volume of expenses for environmental protection was significantly reduced compared to the previous year by UAH 675 million. The analysis showed that during the research period, the largest share of expenses was allocated to preventing and eliminating environmental pollution. Therefore, it was determined that the item of budget expenditures for the prevention and elimination of environmental pollution for 2010-2020 increased from UAH 2,255 million to UAH 6,507 million. However, the structure of total expenses decreased slightly from 78.52% to 71.85%, respectively. Accordingly, in the form of costs, the reduction occurred in the following items of budget expenses: preservation of the nature reserve fund from 7.64% in 2010 to 6.78% in 2020, fundamental and applied research and development in the field of environmental protection from 2.06 % to 1.85%, respectively.

Dittmar’s Turkish Ornamental Cabinet

One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approaches to artistic design. Precisely because this narrative of the new and the free, which had become a myth, excluded art of the later nineteenth century—which supposedly only imitated older styles—little attention was paid to how exactly the ornamentation of Islamic art was taken up and artistically exploited in the decorative arts around 1900. Yet, what else can be classified as stylistic imitation and what as freer abstraction? After all, the geometric derivation of Islamic ornamentation offered rich material for abstractions in the sense intended by the reform movements, before it was radically, and very lastingly, banned from the discourse a short time later along with all other ornament. It will be shown that the abstraction of Islamic ornamentation around 1900 was not only triggered by the objects that were increasingly accessible in exhibitions and as holdings of ethnological or applied arts museums at the turn of the century but was already influenced by scientific research and by the textbooks with historical models as they appeared in the course of the nineteenth century.

Održivost u modi - kreativnost iz prošlosti kao inspiracija za budućnost

Even before the emergence of the fashion sustainability movement, some European and Japanese fashion designers were active in inventing new creative principles. Key examples of such designers are: Martin Margiela, Rei Kawakubo, Yohji Yamamoto and Issey Miyake. They have created a completely new, different and personal style in fashion, as a consequence of exceptional aesthetic creativity. With their ingenious creativity and by pushing the boundaries in fashion design and artistic creation, they managed to create a basis for the development of modern sustainable fashion. Among the creative-experimental solutions available to a fashion designer as a strategy for sustainable fashion design, the creation of clothes without fabric waste ("zero-waste") stands out. The inspiration for such a creative-experimental design solution can be found in methods and techniques of traditional Japanese paper folding skills - origami, as well as in traditional Japanese costume - kimono. The introduction of this concept into fashion provides an opportunity not only to reshape the relation between body and clothing, but also has the potential to create clothing design based on sustainability and a new universality in the twenty-first century. Nevertheless, following the approach of famous designers, it can be seen that for success in sustainable fashion design is necessary to master the fundamentals of traditional and sometimes forgotten craftmanship, which could surely lead to further progress by upgrading one's own ideas.

VAMBA’S NOVEL “THE PRINCE AND HIS ANTS” IN A LITERARY CONTEXT

This article deals with the novel “The Prince and his Ants” (1893) by Luigi Bertelli (1860–1920), who wrote under the pseudonym of Vamba, who was one of the founders of classical Italian children’s literature, and whose work is little known in Russia. The plot about the adventures of a lazy boy turned into an ant is compared with other books about insects. The pretexts of the novel are the works of Alfred Brehm, Jean Henri Fabre, Frances Hubert, Carlo Emery, popular science articles in Italian children’s magazines, the novel “The Adventures of a Cricket” (1877) by Ernest Candez. Traditionally ants were portrayed either sympathetically or antipathically in the role of social and moral allegories (Bible, Virgil, Ovid, Aesop and other fabulists, Fransis Bacon, and others). Vamba’s innovation is that the educational, instructive and entertaining principles are inseparable from each other and are of equal importance. Although there is no direct evidence of the acquaintance of Russian writers with Vamba’s novel, a comparison of the texts suggests that this is one of the possible pretexts of famous children’s books about insects: “The Adventure of an little Ant” (1935) by Vitaly Bianki, “The Extraordinary Adventures of Karik and Valya” (1937) Jan Larri and “Barankin, be a (hu)man” (1962) Valery Medvedev. While differing in their views on the place of man among other animals, these texts are typologically close to Vamba’s creative principles.

Local Economic Development in Territorial Communities

As a result of the reforms of decentralization and local self-government, territorial communities have received more resources and powers to dispose of them, in this sense, the issue of local development has become especially relevant for communities. The purpose of the article is to study the processes of local economic development of Olshanskе village council. In accordance with the set goal, the following tasks were set and solved: to investigate the meaning of the concept of “local economic development” and the factors influencing; at the theoretical level to investigate the actors of local economic development and their place in the management process; to analyze the socio-economic development of Olshanskе village council and identify the main problems of its local economic development; to explore the possibility of implementing forms of community cooperation in Olshanske village council. To achieve this goal, the article uses general and special research methods: method of theoretical generalization and comparison; hermeneutic; comparative and graphic; analysis and synthesis. The article forms one’s own vision of the concept of local economic development. It is established that decision-making procedures in local development management depend on the task performed. The local economic development of Olsha village council is characterized. In the course of the research, the authors determined that the LED of the village council is based on creative principles. The article substantiates that the use of community cooperation will be a promising tool for local development. It is established that for Olshanske settlement council the potential subject of cooperation is the Koblevsky village council of the Nikolaev area. The task of the cooperation will be to ensure the provision of services in the field of urban planning and architecture on the territory of Olsha village council in accordance with the requirements of current legislation and increase the efficiency of the use of local budgets

Methods of ballet-master’s work in the historical aspect

The article shows the peculiarities of outstanding ballet masters’ work and the process of genesis and development of this profession in the historical aspect - from the time of the Renaissance, when the personality of dance teacher becomes very important in society and word “ballet” is used for the first time, until the 30s of XXth. The creative principles and methods of work of such outstanding choreographers of the past as P. Beauchamp, J.-G. Noverre, J. Dauberval, F. Taglioni, J. Perrot, Ch. Didelot, A. Saint-Leon, M. Petipa, M. Fokine, G. Balanchine, the role of the personality of the dancer in creating of choreographic image in the performance, as well as ballet productions by these outstanding choreographers on the Ukrainian stage are analyzed. Features of M. Taglioni’s, A. Pavlova’s, V. Nijinsky’s and others’ performing style are considered, as well as the phenomenon of improvisational creativity of A. Duncan and its influence on the formation of a new ballet aesthetics of the early twentieth century. Particular attention is paid to the works of such outstanding ballet masters as Serge Lifar, Vatslav Nijinsky and his sister Bronislava, whose lives were connected with Ukraine.This article also deals with an important problem of harmonious unity of choreographic and dramatic components of the ballet performance.

РЕФЛЕКСИВНО-ДИАЛОГИЧЕСКИЙ ВЗГЛЯД НА МУЗЫКАЛЬНОЕ ИСКУССТВО СОВЕТСКОГО ПЕРИОДА 1930-1950-Х ГГ.

The reflexive-dialogical view allows us to rethink the heritage of Soviet art. The totalitarian policy of the USSR is paradoxical in its essence: anti-religious propaganda did not destroy religiosity, but used it to create new myths, manipulating the mass consciousness. Based on archetypes and mythologemes, the new doctrine creates the image of a «new man», ready for obedience, for submission, putting the interests of the state above his own. In manyrespects, the state ideology was closed on itself, when the opposition «we» (the Soviet Union) and «they» (the West, hostile to us) was clearly declared, the idea of the superiority of socialism over capitalism was introduced into the minds of people, the war was going on in the minds of people. With the aim of introducing the basic dogmas of political ideology into the sphere of musical art, introducing uniform creative principles of socialist realism, obligatory for all musicians: composers, performers, critics, etc., a new organization was created (Union of Soviet Composers, 1932). Collectivism, being a component of Soviet ideology, took on a massive scale and expressed itself in the phenomenon of «mass song». The main characteristics of the mass song genre are highlighted: artistry, simplicity, brightness of a memorable melody, verse-chorus form, accessibility to perception, replicability. The cantata-oratorio genre plays the role of the genre dominant of the «grand style», with its monumentality, the idea of praising the «father of nations» and glorifying the myth of the inviolability of the imperial power of the state. Composers and performers of the Soviet era continued the best domestic traditions, preserved those universal spiritual principles that political and ideological censorship could not influence, although to a certain extent they held back creative thought, wounded and sometimes humiliated a creative person. The depth of reflection on the problems of modern reality, the author's vision and individual view of the values and meanings of life gave rise to the originality of the artist's ethical reflection, regardless of ideological influence.

Visual Communication and Creative Processes Within the Primary Care Consultation.

Discussion of the value of image, metaphor and creative principles to good consulting skill and patient education within the Primary Care setting is important in enhancing improved patient-physician interactions. A broad-based view of the techniques used in undergraduate and postgraduate teaching within Medical Education in the UK and US are canvassed to establish the best practices and efficacy of using drawings and images as communication tools between physicians and patients. A descriptive analysis of the author's use of image and metaphor is analysed to assess how such convey medical information and help in the improvement of consultation and patient understanding.