Creative Consciousness Research Articles

Exploration on the Teaching Practice of Color Foundation of Painting Majors in Colleges and Universities

Color foundation teaching is the main content of the color expression ability in the painting major of colleges and universities. The traditional color training methods are prone to being misunderstood as the cultivation of the representation techniques of objects of varying difficulties, thereby neglecting that the fundamental purpose of color foundation training is for creative expression. Compared with the traditional course model, the creative consciousness and concept guidance model is a reliable approach to address the expression issues during students' color foundation training at all stages. The traditional color teaching method of combining sketching from life and silent drawing often leads students to form passive, indiscriminate, and emotionless simulations of objects, causing the objects themselves to lose their significance of being depicted. The color lacks directionality and expressive purpose. Works overly rely on the accidental effects produced by unconscious object projection or the meticulousness of work processing, resulting in "sketching" becoming "stifled sketching". The creative consciousness and concept guidance model emphasizes extracting the characteristics of objects. Educators attach importance to discovering and affirming the accidental writing and incompleteness that occur during students' color practice, helping students create their own color imagery based on the objects they are representing at any stage of color learning.

“The Tragedy of Truth” in the Geography of Mikhail Prishvin’s Grove

This article examines the theme of the forest (“grove”) in the works and diaries of Mikhail Prishvin, which for him is inextricably linked not only to environmental problems, but also to the Russian people’s awareness of their historical path and destiny, to the understanding of the concept of “truth” and its semantic content in the minds of different people. The author compares Prishvin’s book of essays Berendey’s Grove (1935–1936), the fairytale Shiptimber Grove (1953) and the writer’s diaries, which reflect his impressions of his trip to Arkhangelsk region in 1935. On his journey to the north, Prishvin was not only carrying out the duties of the People’s Commissariat of the Timber Industry (supervising logging), but also trying to reach the precious and protected forest region – the “inviolable grove”, about which he heard many stories on his way. For Prishvin, the grove is an ideal place, untouched by the “axe of the Antichrist”. And this ideal mythological topos is all the more clearly contrasted with the terrible reality of deforestation that the writer saw and reflected on in his essays and diary. Even the virgin grove that the travellers reach near the Komi border turns out to be doomed. In Prishvin’s texts, conflicting ideas about the forest are not reconciled; he writes about poetic wood and round wood that should be felled. His last book, Shiptimber Grove, is dedicated to the Dream Grove, in which the author tries to save “his” fabulous grove. The article considers various options for the title of Prishvin’s final work, reflecting the movement of his creative consciousness. One of them is The Story of Truth or The Genuine Truth. The theme of truth, or the ‘tragedy’ of truth, is perhaps the central theme in Prishvin’s thought in later years, as well as in the works of a few of his contemporary writers; in the story, he entrusts the search for ‘truth’ to his characters. The shiptimber grove, protected by the Komi people and invaded by war, becomes a multiple image and symbol in the book, including a symbol of truth, uniting the general and the personal, the natural and the human, the past and the future.

THE CULTURAL TRADITION AS A STYLISTIC FACTOR IN THE CHORAL MUSIC OF YU. ISHCHENKO

The author investigated the choral work by Yuriy Ishchenko in the context of the cultural processes of Ukrainian composers' creativity of the second half of the 20th - beginning of the 21st centuries. The research has proposed subject-content levels of studying the individual author's creative dialogue of the composer with the traditions of Ukrainian and European musical culture. It was found that the choral works of Yuriy Ishchenko are built according to traditional principles, but at the same time they carry new ideas and meanings. The dialogical nature of the composer's creative consciousness as a creative personality existing in the cultural space of modernity is described. An attempt was made to determine the stylistic specificity of Yuriy Ishchenko's choral work in the aspect to actualize its representativeness against the background of the functioning of the cultural tradition in the space of further artistic practice. The organic connection between the creative practice of this outstanding representative of the Ukrainian school of composers and the structural levels of tradition as a special form of culture is substantiated. It was established that the choral work of Yuryi Ishchenko demonstrates a new vision, understanding and individual creative reproduction of the cultural tradition as a fundamental basis of the composer's practice. It is noted that tradition acts as the main "regulator" of the dynamic ratio of "old" and "new" in musical culture. The principles of interaction of dynamic (individual-functional-creative) and static (objective-content) complexes of cultural tradition in the space of musical creativity are traced. It has been proven that the choral works of Yuryi Ishchenko are the genre-stylistic "core" of the composer's creative experience, in which the genetic links between the musical art of the 20th century and the traditions of European and Ukrainian culture were actualized. The neo-folkloric and neo-romantic stylistics of the choral works of the Ukrainian composer are personified, as well as their musical and stylistic orientation towards the aesthetics of the "new sacredness".

The Pros and Cons of Multimedia Teaching in English Classes

With the rapid development of computer technology, multimedia teaching has enter classroom and become essential for English teachers. And the multimedia teaching is one of the teaching methods that teachers apply the modern teaching media according to the teaching aims and teaching objects. The paper mainly focuses on the pros and cons of multimedia teaching and ponders on its weaknesses, and research discovered that multimedia teaching has the following advantages: Meeting the requirements of the New Curriculum Reform and optimize the traditional teaching mode, having sufficient teaching materials and develop innovative thinking, optimizing the teaching method and stimulate the students interest and potential. However, it also bears the following disadvantages: Unbalancing teaching capacity and students may difficult to absorb, restricting students logic thinking and creative consciousness, avoiding the position of teacher-student role and harmful to classroom interactivity. Comparing the pros and cons of multimedia teaching in English classes. this paper gives some related solutions from teachers, students and local governments part to achieve the aims of avoiding its cons and promoting its pros and serving for the English teaching.

Культуротворческий потенциал искусства (по материалам русской и северокавказской поэзии первой половины XIX века)

The article is devoted to the study of art as a cultural phenomenon and, in particular, its cultural creative potential. This methodology of cognition of art implies its consideration as conditioned by the general cultural context. At the same time, the artistic image created by art absorbs not only the external, but also the internal, dictated always by the individual and subjective understanding of the author. The image created by the Artist’s creative consciousness is able to not coincide with the actual reality that gave rise to it. An artistic image can contain ideas and values that are ahead of reality and anticipate its future. The author has attempted to prove this position using the material of poetic images created by Russian and North Caucasian poetry of the first half of the XIX century. These images, created in the totally monologous conditions of the long Caucasian war, internally already contained the idea of humanism, which was so necessary at that dramatic time.

A Study from the Mitigation of the Depression to Upsurging of Well-being and Happiness with Reference to Vedic Psychology

Today the Psychology has become a profound way of self-improvement along with wide ranging benefits of enhancing wellbeing and happiness. It is evident that relationship of mind to matter has scientific experimental methodology. In order to understand the relationship or methodology we are referring here Vedic sciences or Vedic Psychology. For the cure and healing of mental health issues such as stress, anxiety and depression with the help of prodigious tools and techniques. Traditional Indian knowledge systems has enormous storehouse of scientific knowledge, such as vedas, Puranas, Yoga Sutras and spiritual Psychology. Vedic Psychology is an ancient knowledge of theoretical and practical transformation which transforms human awareness to higher states of consciousness. Vedic Psychology is a ‘consciousness’ based approach which has unique methods and techniques to mitigate depression and upsurging of well being and happiness. It shows us the path of evolution where gradual process of practicing glides the human towards integrity and peace. Several studies shows where Vedic Psychology exercises and demonstrated therapeutic effectiveness with the help of meditations to control anxiety and depression. Vedic knowledge plays vital role for a holistic development of human awareness. References from the vedas where The non – changing and ever changing aspect of vedas together form the totality of life called ‘Brahman’. This is the symbol of totality of cosmos. Which means each individual being is an expression of ultimate unity and is composed of all levels of nature. This paper takes a leap from the psychological to the metaphysical, epistemological and ethical plane to explain the validity and concepts of Vedic Psychology. The several techniques for monitoring internal consciousness leads to the concepts of identity and existence. Where Vedic Hymns or Mantras used to establish the power of truth seen and heard in the consciousness. It explains how the supreme creative hymns inherits the rhythmic vibration of energy in the light of the creative consciousness of the supreme. The concept of Brahman and Aatman in the Upanishads leads to the absolute truth. Upanishads which are called the ‘ends of the Vedas’ has given the most strongest and spiritual philosophy in the form of Vedanta. Which teaches the person to know the authenticity of oneself. Vedas guides us to live according to the natural cosmic law (Rta) and Upanishads guides to overcome the negative thoughts and powers. The individual core spirit is termed as Aatman which is different from the physical state of oneself. In the writings of vedas it has mentioned that Aatman transforms itself into the Cosmic soul or self. In the process of awakening of the self where experience and reason are common tools characterised by the separation of objects observed and the observer. Vedic Psychology emphasis on the deeper systematic first person approach. In mainstream modern science consciousness is defined as the ability to be aware of a separate object of experience. Vedic Psychology is indeed helpful for the whole community of humans to rise from the mental disorders such as grief, pain, stress, anxiety and depression to reach out of it towards serenity of well being, happiness and peace.

АРХИТЕКТОНИКА ШКОЛЬНОГО ПРОСТРАНСТВА КАК ИНСТРУМЕНТ ФОРМИРОВАНИЯ ХУДОЖЕСТВЕННОЙ КУЛЬТУРЫ УЧАЩИХСЯ

Artistic culture, which is of paramount importance for society and serves as a means of communication, transmission of ideas, values, knowledge and historical experience, is capable of developing a sense of beauty, creative thinking and emotional sphere of a person. The article considers school space as an active factor that not only influences the educational process, but also contributes to the development of students’ creative consciousness and cultural thinking. The role of the architecture of school buildings, their interior and exterior design in creating an educational environment conducive to the development of students’ creative thinking and artistic culture is discussed. Theoretical approaches to assessing the effectiveness of school space in achieving educational goals are considered. The study conducted at the Lyceum No. 44 in Cheboksary within the federal project “School of Dreams” has become valuable experience for the team of students at the Chuvash State University named after I. N. Ulyanov. Various methods were used in the research process: emotional assessment of the space with students of grades 5–7, graphic surveys, observations, creative interviews with students of grades 6–11 and young educators, a tour of the school with the director. The empirical studies carried out, as well as their detailed analysis, identify and form trends in the preferences of students regarding the architecture of the school building, colour schemes and decisions on the layout of the educational space.

«Рассказы из русской истории» А.Н. Майкова: от идеи к реализации

The article analyses the formation and development of the idea of the unfinished prose cycle Tales from Russian History by Apollon Maykov. The most important source of information about this part of the poet’s creative biography is considered his correspondence with Fyodor Dostoevsky, where the prerequisites for the origin of the cycle idea and the stages of its formation are revealed. One of the most expressive novelist’s letters to his friend is devoted to the discussion of the general idea of the cycle and its plots. It contains a conceptual reflection on the poem “as a precious stone, a diamond, in the poet’s soul” and highlights the most significant events in Russian history, according to the writer’s understanding. The plots of individual stories expressively described there by Dostoevsky originated the assumption that the writer was the author of the cycle concept and inspired Maykov to create it. However, a chronological analysis of the correspondence between Maykov and Dostoevsky in 1867–1869 allows us to gather and sequentially arrange facts reflecting the process of gradual development and final formation of the idea in the poet’s creative consciousness. It leads to the conclusion that the idea was formed in Maykov’s creative consciousness during an in-depth study of Russian history, prompted by his work on the translation of The Tale of Igor’s Campaign. Dostoevsky took some part in shaping the key features of the content and the principles of the artistic form of the tales. He was not directly involved as the ideological inspirer. He participated as a friend, an interlocutor, and like-minded person, with whom Maykov shared the details of his own creative search and thoughts on pressing issues of Russian social life at that time, among which questions about the originality and identity of Russian history, and the relations between Russia and Europe were some of the most important.

TEORIJSKA I PRAKTIČNA POETIKA I ESTETIKA

The paper sheds light on the theoretical, critical, aesthetic, and practical aspects of Milovan Danojlić’s Naive Poem (Naivna pesma). Through the prism of discussion, we interpret the art of Ljubivoje Ršumović as a value that has become a national cultural heritage. By comparing Danojlić’s views with the related findings of the poet and critic Duško Radović, the field of interpretation is expanded and we conclude that Danojlić’s discussion of the naive poem, as both a theoretical and a practical contribution to his poetics, confirms the fundamental tenet that scientific and creative consciousness are one and the same and that they have a common core. After all, even Ršumović, a poet who studied literature, had an awareness of Danojlić’s work, and it is mentioned in his numerous poems, interviews, and reviews.

ЗАВЕРШЕННАЯ НЕЗАВЕРШЁННОСТЬ ПОЭМЫ Н. В. ГОГОЛЯ «МЕРТВЫЕ ДУШИ» В «ГОГОЛИАНЕ» В. ОТРОШЕНКО

The article is devoted to the consideration of the mythologizing receptive model in relation to the fact of the creative biography of N. V. Gogol, the unfinished poem “Dead Souls”, in the cycle of essays by the modern writer V. Otroshenko “Gogoliana”. The author analyzes V. Otroshenko’s reliance on the complex of ideas of the philosopher L. Wittgenstein during the creation of the “Tractatus Logico-Philosophicus” based on the understanding and reconstruction of the causes of Gogol’s creative crisis. The ontological aspect of the interpretation of the relationship between Gogol’s creative consciousness and language, proposed by Otroshenko, is revealed.

Opera Metamorphoses of the Story of Manon Lescaut

"In the article, the opera genre is comprehended in its two hypostases – as the one inheriting the mythological tradition through the plots and experience of literature, and in the dynamics of the manifestation of individual creative consciousness. The tendency to demythologize the opera genre did not exclude the typification of situational motifs genetically related to the myth, while giving rise to their variable plurality in the new socio-cultural and artistic-aesthetic conditions. As a result, the opera reveals the ability to operate with archetypes, drawing closer to the mythopoetic consciousness. The considered compositions by D. Auber, J. Massenet, G. Puccini, H. W. Henze demonstrate the variety of opera metamorphoses of the story by Abbé Prévost. The path from the idealization of plot situations through the disclosure of the drama of feelings to the reduction of conflicts to the level of a tabloid story closes the circle of semantic overtones of the literary source. Keywords: opera, mythopoetics, story by Abbé Prévost, compositions by D. Auber, J. Massenet, G. Puccini, H. W. Henze."

역사지리학과 고전문학 교육의 만남 -｢만복사저포기｣(萬福寺摴蒲記)의 장소성 탐구를 중심으로-

In this paper, I attempted to explore the historical and geographical specificity of the space represented in Kim Si-seup’s novel Playing Jeopo at Manboksa Temple. The spatial setting of this novel is Namwon-si, Jeollabuk-do. Kim Si-seup actually traveled to Honam in 1462 when he was 28 years old and reflected his experience of exploring the Namwon area, including Manboksa Temple, in the creation of the novel space. Therefore, the place names mentioned in this novel serve as an important clue to the historical and geographical approach as actual places in Namwon town. The work of specifically defining the novel’s space in this way is expected to help understand the meaning of the novel’s narrative and the author’s creative consciousness.
 Places worth mentioning in connection with the narrative of this novel include Manboksa Temple, Jiri Mountain, Gaeryeong-dong, and Boryeonsa Temple. Manboksa Temple maintains its sense of place through Manboksa Temple Site in Wangjeong-dong, Namwon-si, Jeollabuk-do. What is noteworthy about Manboksa Temple’s location is that it is located near a densely populated area of private houses near Namwon Eupseong Fortress and has existed as a temple for a long time, granting the wishes of the people of the town. And Jiri Mountain is the last place where the novel’s male protagonist, Yangsaeng, was seen, and is closely connected to the ending of the novel. Yangsaeng goes missing after saying he was going to Mt. Jiri to dig up medicinal herbs. From this ending, we can read his desire to protect his one and only love. Meanwhile, the fact that the ridge of Jiri Mountain can be seen in the distance from the grounds of Manboksa Temple implies that the starting point of this novel also encompasses the space that hints at its lonely ending. Boryeonsa Temple is a temple located at the foot of Boryeon Mountain, and its location is presumed to be Bangchon-ri, Geumji-myeon, Namwon-si, Jeollabuk-do. This place contains the climactic moment of the novel when Yangsaeng, who was immersed in love with the heroine despite her many suspicious circumstances, was ultimately forced to accept that the heroine did not belong to the human world.
 Gaeryeong-dong is a space where the anonymous heroine mainly belongs, and Yangsaeng came to fully trust and love the woman during the three days he spent there. This is also the temporary burial place of the female protagonist who was sacrificed during the Japanese invasion of Namwon in 1379 or 1380. I was the first to raise the inference that this Gaeryeong-dong is the valley below Gaeryeongamji in Deokdong-ri, Sannae-myeon, Namwon-si, Jeollabuk-do. Gaeryeongam was a temple near Jeongnyeongchi on Jiri Mountain, located on the road from Namwon, Jeolla Province, to Hamyang, Gyeongsang Province. The temple, built during the Goryeo Dynasty, no longer exists, leaving behind only a few traces. Kim Si-seup passed through this place in 1462 on his way from Namwon to Gyeongju via Hamyang.
 What is noteworthy about the location of Gaeryeong-dong is that it is located within the area of Jiri Mountain. This helps us understand the movements of the ending, where Yangsaeng enters Jiri Mountain and goes missing. For Yangsaeng, Gaeryeong-dong was a place engraved in his heart as it was the place where he spent the longest time with the heroine. When Yangsaeng, who valued one love more than Buddhist liberation, went to Gaeryeong-dong to check for traces of the woman, he had already entered Jiri Mountain. When he disappeared into Jiri Mountain, he had only gone a little deeper from where he originally was. Gaeryeong-dong, located at the starting point of Jiri Mountain, becomes an important coordinate in the movement of Yangsaeng who disappeared without having lost his one and only love.

The aesthetic approach to the cohabitation of meaning between cinematic depth of field and theatrical presentation

This research is concerned with studying the meanings inherent in theatrical performance in the light of the analytical mechanisms adopted by phenomenological philosophy, which examines how artistic works are performed, in an attempt to reach their first facts, by directing perception to the beginning of things، And then to associate with it a direct experience according to the thoughts manifested in the feeling. Thus, consciousness carries out the experience of meaning in theatrical performance, through a long series of cognitive practices, which can be intellectually and aesthetically compared to the (montage) practices that abound in the creative consciousness in the style of cinematic depth of field. The first chapter defines the problem of research (systematically) with the following question: What are the aesthetic approaches to the coexistence of meaning between the depth of the cinematic field and the structure of theatrical presentation. While the second chapter is determined (theoretically) by the following: the first research (the strategy of cohabitation of meaning in the depth of the cinematic field), the second research (the strategy of cohabitation of meaning in theatrical presentation) ، The third Topic (aesthetics of depth of field in theatrical performance). The third chapter is determined (procedurally) by the theatrical show (Shajar Murr), written and directed by (Abdul Majid Al-Hawas), for the year (2015). In addition to the fourth chapter, which includes the results and conclusions of the research. Finally, a list of sources, references and a summary of the research in English.

«Nude Vita» of the Post-classical Regression of the Culture Industry and Retrocausal Reversibility

The article examines the phenomenon of Western visual practices known as “nude vita.” Using the example of landmark nu-projects, the author analyzes socio-philosophical criticism of cultural-industrial post-classical regression by independent Ukrainian and international scholars who study the entropy of contemporary artistic experience. The researchers discussed emphasize the need for an immediate revision of the self-destructive art episteme of postmodernism and the return to social and individual creative consciousness of the essential reflection as a stratagem of transcendental aesthetics. As an additional argument in favor of the validity of such academic criticism, the article draws on the ideas of the modern quantum-mechanical theory of retrocausality, which highlights the importance of the historical-temporal integrity of cultural memory, since the causal effect of temporal reversibility on a subtle spiritual and intellectual level can change the past states of systems through the transformation of future events, which plays an important role in the cultural and artistic context of the here-and-now nation-building.

Тема творчества и образ художника в повести Исы Капаева «Синие снега»

The article delves into the exploration of the development of the theme of creativity and the por-trayal of the author-artist in the story titled "Blue Snows" by the Nogai writer, Isa Kapaev. It recog-nizes that the writer's creative search is conducted through the lens of the postmodernist concept, drawing from the experiences of conceptualization of this theme in global, Russian, and national literature. Within the body of the author's works, this theme serves as a recurring motif, with the im-age of the artist embodying one of its central aspects. The article showcases this thesis by referenc-ing I. Kapaev's works, which reflect the profound drama encompassing the personal and creative consciousness of the protagonist named Karamov – an alter ego of the writer himself. The destiny of the artist Aidar Karamov, the protagonist in the story "Blue Snows," inter-twines with the life stories of other Karamovs, individuals within the realm of art and the heroes present in I. Kapaev's works during the twilight of the Soviet era as well as the transitional decades between the 20th and 21st centuries. The author's conceptual vision and the means through which it is executed in the story are in-terpreted within the framework of postmodernist aesthetics and poetics, utilizing hermeneutic, se-miotic, and typological approaches. Emphasis is placed on how the evolution and rebirth of the pro-tagonist's consciousness, as described by the author, lend themselves to a profound contemplation of the contemporary challenges faced by art: the quest for the ideal, the significance of maintaining a connection with the cultural soil from which true inspiration springs. Furthermore, the article explores the theme of reverence towards art, the nurturing attitude towards talents, the unwavering dedication to one's calling, and the resistance against the tempta-tions of prioritizing material wealth over the attainment of the ideal through the creative process. As the foundation for analysis, the article draws upon the text of the aforementioned story under scrutiny, as well as other works by I. Kapayev composed in their original language. Transla-tions into Russian were employed as a reference for quotations..

Linguo-Conceptual Studies of Literary Text: Evolution of Theoretical and Methodological Approaches

Introduction. The article presents the results of an analytical review of scientific papers reflecting the stages of formation and development of cognitive poetics as an interdisciplinary research area in Russian linguistics. The purpose of the article is to systematize and critically analyze approaches, concepts and methodological principles of the study of concepts that constitute the cognitive basis of literary texts, authors’ idiostyles and, by extension, of poetic sociolects and literary genres.Methodology and sources. The paper reviews theoretical concepts and approaches (developed by R. Tsur, P. Stockwell, I.A. Tarasova, N.S. Bolotnova, L.O. Butakova, etc.), which served as the foundations of cognitive poetics. A comparative analysis of works focusing on the structure of literary concepts, their textual representation aspect and categorization criteria is carried out. The studies which concentrate on the application of corpus methods in order to analyze literary texts, including the works by B. Fischer-Starcke, D. Siepmann, A. Stefanowitsch, M. Mahlberg, etc., also formed the methodological basis for the analytical review.Results and discussion. As a result of the review study, the evolution of theoretical and methodological approaches to literary concepts and literary texts’ ideospheres is demonstrated. The main concepts that influenced the formation of cognitive poetics are identified; the relevant problems of cognitive studies of poetic and prose texts are analyzed. It’s shown that it is necessary to further consider the problem of identifying dominant concepts of authors’ idiostyles describing cognitive mechanisms that underlie the semantic variability of individual concepts. The importance of using corpus methodology in the study of literary discourse in its synchronic and diachronic perspective is discussed.Conclusion. It is shown that, despite the fact that the author's creative consciousness has been studied intensively and for a long time in Russian cognitive poetics, there are still problems that need further consideration. The following aspects must be analyzed: the criteria for choosing the method of modeling a literary concept, taking into consideration its type; the elaboration of uniform terminology in existing approaches; the development of the algorithms for describing the structure of literary concepts and identifying conceptual dominants of authors’ ideospheres. A conclusion was made regarding the potential of applying corpus research methods in the field of cognitive poetics. A range of the tasks related to the cognitive research of literary texts that could be solved by using statistical methods of corpus linguistics was determined.

THE MODERNITY IN COLONIAL INDIA: A CASE STUDY OF AKBAR ALLAHABADI’S POETRY

Akbar Allahabadi is a poet in the Urdu poetic tradition who, through his creative consciousness, revealed the inner layers of colonialism. The environment in which Akbar's poetry thrives is in colonial India, where he and other political and social leaders of his time are loyal to the British government. The historical context in which his poetry presents its meaning is the scenario of the beginning of the nineteenth century in India when it was a time of flux for the Muslim community. After the Revolt of 1857, Muslims, in particular, had been the subject of attack by British rulers. Many were forced to abandon Delhi and others were not allowed to enter the city. In the wake of this crisis, the community adopted two opposing ideologies. While one group was staunchly hostile towards the British, the other saw a benefit in collaborating with the benefactors. The latter—called supporters of the ‘new light’—believed in adopting British culture as modern. This bothered Urdu poet and satirist Akbar Allahabadi (1846–1921), as he lamented the loss of culture that would come with imitation of the British way of life. He took to his trusted weapon—satirical poetry—to critique this trend. the post-1857 era of peace and reform and the beginning and the end of the First World War. Although the concept of history is not very clear in his poetry, the external conditions which influenced his poetic temperament cannot be understood without being detached from history. Akbar interprets the cultural conditions of the age with his poetic consciousness. This article seeks to study Akbar’s poetry from a Postcolonial perspective

STRUCTURING THE CREATIVE PROCESS IN JEWELLERY DESIGN

The article examines the process of creating emotionally coloured products that would carry a certain informational message to the viewer, arouse a desire to empathise, participate in the creative process, and popularise the topic touched upon by the author. It is proposed to use the technique of structuring the creative process when creating modern design objects, as one of the ways to activate creative consciousness. The ways of forming thematic information-rich objects are considered, when rethinking the images of the world, through the projected object, the author builds a relationship between the image itself and the idea of it. Several variants of design solutions for a specific creative task are considered.

Nine Women: Collages of Spirit-Collages of Self

Collaging invites the twists and turns of meaning-making and insight. This Reflexive Inquiry illuminates the collages of nine artist women and celebrates the potency of harnessing Creative Consciousness through meditation, collaging, and dialogue. We aim for balance between juxtaposing evocative imagery, poetic rendering, responding with creative critical social justice understanding, and humility in this undertaking to evoke feeling and insight. The metaphor of the canoe crossing the river illustrates this journey. The fiercely powerful women in this inquiry were provided a pathway to heal from internalized injustices, empower themselves to take positive action, and discover a harmonized state from within.

From Imperial to Soviet Power: Interpretation of Zabolotsky’s Creative Quest in the Ararat Collection

This article examines the role of Zhukovsky, a nineteenth-century ballad author, in Zabolotsky’s creative consciousness. Among the biographical facts and writings of the twentieth-century poet that reveal his constant interest in the canonic figure of his predecessor, the author pays special attention to Zhukovsky’s Ballad (1927) that has a metaliterary title. Zabolotsky included this work which looks like a riddle in the composition of Ararat, his handwritten book, and therefore is considered by the author of the article in the context of this collection. The paper aims to overcome the semantic opacity of Zhukovsky’s Ballad and to determine its place and functions in the structure of the Ararat poetic cycle. Methodologically, the analysis is based on historical poetics, which implies, on the one hand, the identification of a genre basis relevant to both Zhukovsky and Zabolotsky, and on the other hand – the transformations that the ballad underwent in the context of a “new worldview and new art”. Another theoretical reference point is B. M. Gasparov’s Poetics of the Tale of Igor’s Campaign dedicated to the interpretation of the opaque text and based on the analysis of its linguistic and genre-stylistic features. The main sources in this research are the manuscript of Zhukovsky’s Ballad as well as the cover of Ararat with drawings by the writer, and the other poems of the collection. The main result lies in the reconstruction of the cyclical plot implying the unity of all the poems of the collection through the prism of their motifs and imagery, which, in turn, revisits the biblical story of the Flood. The author analyses intertextual connections within the book and specifies their functions. In the first part of Ararat, Zhukovsky’s Ballad which completed the collection was the most conflictual work within a triad of texts dedicated to the end of the old tsarist and imperial way of life. Based on the clarified symmetrical composition of the cycle, in its second half, the author discovers the poem Movement mirroring Zhukovsky’s Ballad. Instead of the tsar in the ballad, there appears a cabman sitting “as if on the throne” as a representative of the new “proletarian” authorities. In the place of a drowned man who lived in the “round village,” the reader now sees a “poor horse” as the driving force of modernity. Thus, Zabolotsky captures the change of the social and everyday life paradigms, bringing the heroes of a new era to the fore.