First Half Of XX Century Research Articles

РОМАНТИЗМ И КОНСТРУКТИВИЗМ В ПОЛЬСКОМ ТЕАТРЕ 1920-1930-Х ГОДОВ

In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.

ISSUES OF LANGUAGE AND CULTURE IN THE GEORGIAN DIASPORA OF BAKU (According to the Georgian Émigré Press of the First Half of XX Century)1

ISSUES OF LANGUAGE AND CULTURE IN THE GEORGIAN DIASPORA OF BAKU (According to the Georgian Émigré Press of the First Half of XX Century)1

Theatrical Architecture in the Andrzej Pronaszko’s Conception of Stage Space.

The work of Polish stage designer Andrzej Pronaszko embodied in a particular manner a certain turn to a new approach to the organization of stage space, which appeared to be a characteristic process for the Polish and European theatre of the first half of XX century. Pronaszko cooperated intensively with professional architects, which had a considerable effect upon his conception of stage space. The article reviews projects of the artist, which proved to be a realization of his conception of stage space referred to the „theatre of the future”: the stage design for the „Golem” play (1928), set up on the circus arena and the theatrical architectural projects of Simultaneous theatre (1928-1929) and the Mobile theatre (1934). Each of those three was created in cooperation with an architect (with Szymon Syrkus in the first two cases and with Stefan Bryła in the third one). In Polish theatre between two World Wars, scenography came out as a special domain of an avant-garde activism manifesting an uprise of the „theatre of the future”, which offered prospects of some extraordinary perceptional experience. The reviewed projects presuppose overrunning the boundaries of conventional theatre and using innovative engineering solutions in stage organization, lightning and sound engineering. They became an ambitious attempt to change drastically the mode of theatrical event at the level of the space architectonics and extend thereby theatre’s capabilities in dealing with dynamics of spectacle. The artist created new conditions for affecting the spectator’s comprehension of the stage performance.

Music education in first half of 20th century in Albania: Its institution and contribution to urban music life

The aim of this research paper is to build the historical journey of the development of music education since its origins until the middle of the 20th century. Based on archival documents and facts, historical and journalistic publications, texts and didactic musical pedagogical methods, as well as in other supplementary materials I present with facts, analysis and generalizing treatments in the historical plane, the path of the formation and development of the music education tradition as part of general education system and also outside it. The research model was historical research which underpins all other research into music education as even the most contemporary facts have already occurred. The technique for analysing archival documents in the context of music education were document identification, document evaluation, content analysis, interpretation of the findings from the archival documents and synthesize the information to form a coherent narrative or analysis of music education practices descriptive analysis of the technical character of music methods that is made to each document stored in the Central State Archive (CSA), the comparative method for the recognition and contributions given by every religious educational institution in Scutari or secular in the four cities. To accomplish this objective, the study is focused on the documents researched mainly in Central State Archive as well as other sources publication interviews). On this basis and according to the historic importance, the study is shed light on the path of development of Albanian music pedagogy and the stages which defined this development, both in the drawing up of programs as well as through the publication of musical books by Albanian or foreign authors. The article gives a unique contribution of the first phase of the establishment of the music education tradition in Albania, as an outcome of which there were some achievements of the artistic activities, which linked the general music education of the first half of 20th century. This study may be the beginning of a wider research for professional music pedagogy in Albania, may serve for the international researchers to know the development of music pedagogy in the early years of education in Albania and to compare it with the developments in the Balkans.

Catalogue of specimens of Odacantha melanura (Linnaeus, 1767) (Coleoptera, Carabidae) deposited in the State Museum of Natural History NASU, Lviv, Ukraine

Tribe Odacanthini is a tribe of ground beetles in the family Carabidae subfamily Lebiinae, there are more than 43 genera and 680 described species in Odacanthini (Lorenz, 2021). Genus Odacantha includs 15 extant species known so far. European-Asian genus Odacantha, in Ukraine is represented by single species Odacantha melanura (Linnaeus, 1767). Species distributed in Western Palearctic from medle parts of Spain, Italy and Balkan Peninsula till to southern provinces of Fennoscandia, to East reached Amur River, recorded in Caucasus and Iran (Burakowski et al., 1974). Odacantha melanura (Linnaeus, 1767) is a winged, spring breeder and occurs in the Scirpus, Typha and Phragmites thicketon the banks of reservoirs and bogs (Hůrka, 1996). In Ukraine Odacantha melanura (Linnaeus, 1767) recorded in Podillia (Tovtry ridge, Pantalykhy steppe, Butsyky) (Nowicki, 1864), Horodok vicinity (Malkovychi) (Łomnicki, 1868), Butsyky (Łomnicki, 1870), banks of the Dnipro River near Kyiv (Hochhuth, 1871), Podillia (Nowicki, 1873), Ivano-Frankove (Zalissia) (Król, 1877), Lviv (Vulka near Sobka pond), Ivano-Frankove (Zalissia) (Łomnicki, 1890), Ternopil (Rybiński, 1903), up to Kharkiv and Kherson gubernias (provinces) (Якобсон, 1905), Kamianets-Podilskyi (Якубовский, 1914), Uzhhorod and all Transcarpathians lowland (Roubal, 1930), Crimea (Эйдельберг, Мальцев, Перваков, 1988), Forest (Novgorod-Siverske Polissia) and Forest-steppe zones of Left-Bank Ukraine (Kirichenko, Babko, 2004 (2005)), Mezynskyi National Nature Park (Шешурак, Назаров, 2021). In the collection of the State Museum of Natural History, National Academy of Scienses of Ukraine (SMNH) are stored 19 specimens collected in western part of Ukraine, Poland and Austria. Collection material represents the following physiographic regions: Temprate broad-leaf forests zone: Roztotsko-Opilska Upland oblast (Roztochchia district (9 specimens), Opillia district (1)), West Podillia Upland oblast (3), Ukrainian Carpathians: Ciscarpathians Upland oblast (1). The findings are collected by the following collectors M. Łomnicki, J. Mazurek, dr. Łuczakowski , A. Stöckl, H. Eder, Yu. Polianskyi, A. Winkler, V. Zanko in the period of ~1868 – first half of XX century.

La genesi della contabilità matriciale e la "ragioneria scientifica" del secolo decimonono

El artículo se propone demostrar que las raíces de la contabilidad matricial se encuentran en la tradición de la contabilidad matemática desarrollada en Italia durante la segunda mitad del siglo XIX y la primera mitad del XX. La investigación subraya y saca a la luz los factores sociales e históricos que han determinado el desarrollo de dicha contabilidad. En la segunda mitad del siglo XIX, gracias a la obra de Giovanni Rossi (1845-1921), unánimemente reconocido como el más gran discípulo de Giuseppe Cerboni, y su escuela logismográfica, tuvo lugar la sistematización de la contabilidad matricial y de sus aplicaciones a las diferentes unidades económicas, tanto empresas como entidades del sector público. En efecto, en 1889 Rossi publicó una monografía fundamental, "Lo schacchiere anglo normanno e la scrittura in partita doppia a forma di scacchiera" (El tablero anglo-normando y la escritura por partida doble en forma matricial), publicada por el Collegio dei Ragionieri in Roma. La obra -de la que queda un número muy limitado de ejemplares- representa el resultado de largos anos de investigación de Rossi en contabilidad matemática, que realizó a través del estudio de manuscritos de su archivo particular, donado luego a la Biblioteca Municipal de su ciudad, Reggio Emilia. Sin embargo, sorprendentemente, a este estudioso se le considera más por sus aportaciones a la teoría personalista de las cuentas, que por su labor como fundador de la contabilidad matricial. Los elementos fundamentales del innovador método contable de Rossi, de aplicación tanto a la contabilidad por partida doble, como a la contabilidad por "partida cuádruple", se reconocen y documentan en los estudios matemáticos de este investigador -principalmente en los llamados "determinante simbólico" y "determinante gráfico"-, así como en sus estudios históricos sobre el tablero anglo-normando, como por ejemplo el Rotulus annalis y el Memorandum, de donde se deriva el título de su monografia. La publicación del volumen suscitó gran interés, lo mismo nacional que internacional. Véanse, entre otros, los trabajos de D. Biancardi, P. D'Alvise, E. Gagliardi, F. Hügli, G. Massa, A. Sanguinetti y A. Savigny. El presente ensayo, apoyándose en soportes documentales, sostiene la tesis de la originalidad y la innovación de las herramientas contables instrumentadas por Rossi y rechaza las acusaciones de plagio formuladas por algunos en relación con trabajos previos de Fabio Besta. El artículo presenta dos aplicaciones de contabilidad matricial en empresas comerciales: la primera, en el marco de un sistema contable logismográfico y, la segunda, en un sistema contable de partida doble típicamente pacioliano.

PROBLEMS AND PROSPECTS OF JAPAN-KOREA INTERSTATE RELATIONS

The peculiarities of the current conflicts between Japan and Korea are investigated. At the present stage, bilateral relations between Japan and the Republic of Korea are distinguished by stability and predictability, and even too much – there is every reason to talk about their friendly, and even allied character. Now the two states simultaneously cooperate in the political sphere, and compete in the economic sphere, they have intensified their cultural exchange. At the same time, a number of unsettled issues of the historical past of both countries remain, and, in addition, there are contradictions related to the island of Tokto (Takashima). In the last decade, the emphasis in Japanese-South Korean relations has clearly shifted to the trade and economic sphere. The first round of free trade negotiations between the two countries took place in December 2003 in Seoul, and the sixth and last was held in Tokyo (November 2006). The reluctance of the Japanese side to fully open its own market was the reason that the negotiations came to a standstill. Governments are well aware that the conclusion of a bilateral free trade agreement will have far-reaching consequences. The merger of the markets of the two countries with a similar structure of industry, located in direct ieographic proximity to each other, will lead to the emergence of a large market that will unite 170 million tons. persons and will make up 17% of the world’s gross product. This new economic entity could also deter China’s economic growth. In addition, pooling potentials and close mutual cooperation will contribute. Japan and South Korea have been taking gradual but confident steps to meet each other lately. Despite the very difficult common history in the first half of XX century. and the sharp contradictions that took place in the second half of the XX century, the parties are trying to come to an agreement on solving the existing economic problems, as well as looking for ways to cooperate efforts in the development of national economies.

Problems in the studyof Turkic cooperation in thefirsthalfofthe20thcenturyintheframeworkofnationalautonomies

The first half of the twentieth century was a period of significant political and socialchangefortheTurkic-Muslimpeoples.Aftertherevolutionarychanges,TurkicMuslimpeopleswere able to maintain their identity despite the new Bolshevik colonial policy of the RussianEmpire. As a result, national autonomies started to be established, which led to a process ofintegration of Turkic Muslim peoples. Their ideological views were influenced by the Jadids,who were educated in the madrasas of Bukhara, Samarkand, Kazan, Istanbul, and Cairo.DuringtheirstayinIstanbultheycameintocontactwiththeYoungTurksandwereinfluencedby new ideas, which became the basis of cooperation of Turkic peoples at the stage of creation ofnational autonomies. Thus in the given article the aim of complex analysis of Turkic peoples’cooperation within the framework of national autonomies in the first half of XX century (Itil-Ural, Alash Orda, Turkestan, Shuro-i-Islamia) on the basis of the archival data of the RussianFederation and the Central State Archive of the Republic of Uzbekistan is set. In order to reachthisgoalbymeansofdiscourse-analysismethodandhistorical-comparativeresearchmethodthe author tries to shed light on the historical process of Turkic-Muslim peoples integration inRussian Empire.

Gender aspects of musical performance: conductor, female conductor, woman conductor

The article is devoted to the history of opera and symphonic conducting, considered through the prism of correlation of professionalism and gender. The facts of women’s mastering the conductor's profession in the second half of XIX - the first half of XX centuries (J. Aman-Weinlich, C. Gonzaga, E. Leginska, F. Petrides, A. Brico, F. Belinfante, V. Kapralova) are presented, which are considered as the evidence of gradual sociocultural changes, caused by the feminism processes in USA and Western Europe. The study highlights the activities of the first domestic female conductors (E. Slavinskaya, O. Berg, V. Dudarova, M. Heifetz), possible due to the drastic political, economic and cultural reforms in the USSR. The author identifies the problem of “female conducting” connected with socio-political, psychological, and socio-cultural patriarchal traditions as a manifestation of gender asymmetry in the sphere of academic conducting.

«Marpha and Maria» for eight cellos by Oleksandr Shchetynsky: integration/disintegration as a principle of timbre organization

Statement of the problem. Compositional practice of XX – beginning of XXI centuries is marked by radical reconsideration of timbre. In many cases it becomes a factor creating the very sense and compositional organization of the work. Timbre being reconsidered and recognized as a main factor of music expression in the first half of XX century became just a beginning of “delving” into timbre, a process that in the second half of the century started to occur in the domain of electroacoustic music as well. The research of timbre is developed in the same multifaceted manner, on the basis of completely different works, with different goals, with inclusion of the achievements of different branches of humanitarian studies (results of studying of semantics of timbre), as well as science and computer technologies (research of specifics of timbre in electroacoustic music). The topic of this article is inspired by the growing relevancy of the research of timbre as a leading parameter of music of XX–XXI centuries in Ukrainian and foreign scholarly works. The relevancy of the chosen theme is also caused by the interest in the creativity of modern Ukrainian composers, including O. Shchetynsky. Recent research and publications. Theoretical basis of the article consists of Ukrainian and foreign sources devoted to timbre: articles and thesis of Yu. Ishchenko (2012a; 2012b), O. Zharkov (2002; 2017; 2020) O. Voytenko (2012), S. Korobetska (2003), H. Kosenko (2018), R. Kashyrtsev (2022), P. Boulez (1999), D. Smalley (1994). Also, this basis is broadened by the research of the creativity by O. Shchetynsky: by P. Rud (2021) and H. Savchenko (2021; 2023). The objectives of the studу. The aim of the article is to research specifics of timbre organization in the work “Marpha and Maria” for the ensemble of eight cellos on the basis of juxtaposition of articulation (disintegration) and joining (integration). The scientific novelty of the results of the article is caused by the fact that the work “Marpha and Maria” has not been analysed before, including the peculiarities of timbre organization. Results and conclusion. One of the main principles of timbre organization in orchestral and ensemble music is interaction of articulation (disintegration) and joining (integration). In the work “Marpha and Maria” these principles, firstly, create logically-constructive basis of timbre organization; secondly, they acquire symbolical meaning (juxtaposition of calmness and rush, constant and changing), which helps to incarnate the programmatic idea. These principles act simultaneously and consecutively, in the vertical dimension of the texture (between the lines and layers) and in the horizontal dimension of the composition (between the segments). Realization of timbre integration (joining) and disintegration (differentiation) is aided by the following: texture, type of themes, register, dynamics, agogics, ways of producing the sound.

Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

Ukrainianization of national opera theater

The purpose of the article is to single out artistic and organizational peculiarities of opera art of the period from the Ukrainian National Republic in the 1930s. To illuminate the role and importance of prerequisites and formation of Ukrainianization as a factor of formation of national opera culture in the first half of XX century. The methodology lies in the application of comparativist and comparative-historical methods, which allowed to highlight and compare the period, researched, from its beginning to the extreme years. Allowed to characterize historical events with a retrospective distance of a century. The scientific novelty consists of incomprehension of the influence of Ukrainianization on opera art in Ukraine. For the first time, the Ukrainianization of the culture of the population from the time of the UPR to the appearance of the very concept of "Ukrainianization", which appeared after the formation of the Ukrainian Soviet Socialist Republic, is considered in detail. Conclusions. Through the analysis of scientific publications, monographs, and archival sources we can determine the approaches and formation of the policy of "Ukrainianization" of opera art in the first half of the twentieth century. There is a possibility to compare the "Ukrainization" of the national opera art in the period of the Ukrainian People's Republic and the Ukrainian Socialist Soviet Republic.

HOW TO USE WRITERS' PIECES OF ART – POPULARIZERS OF SCIENCE AND TECHNOLOGY FOR THE DEVELOPMENT OF SOFT SKILLS OF ENGINEERING STUDENTS

Fiction writers who are engaged in science is a phenomenon. We studied this phenomenon to gain new opportunities for the development of soft skills in students of technical specialties and to widen the possibility of popularizing scientific achievements. The chronological boundaries of the study cover the period of XVIII – the first half of XX century; geographical boundaries cover Europe, the United Kingdom and the United States. The relevance of the study is related to the relevance of popularizing science among students of technical specialties, as well as the development of soft skills through writing stories about scientific discoveries, fostering interest in reading fiction about science and technology. The purpose of the study was to find psychological and informational material that will affect the emotional sphere of the student's personality and motivate him to write and read works of art about research and innovation. The ability to use research on the role of writers as promoters of science and technology depends on how we provide information about their works. In this regard, we offer a psychological technique to impress readers of scientific stories, i.e. the effect of “wow” as a combination of the factor “wow” and the halo effect. Stories about science affect different areas of human activity. They are used to address environmental, medical, political and other issues. The information material of the study confirms the following: if scientists and inventors do not demonstrate the consequences of their inventions and discoveries, it leads to erroneous assumptions, causes alarm in society and affects the mind of the individual. We studied the nature of writers' connection to science and sought answers to the question of whether writing works of art and the ability to do research could be equal aspects of an individual's abilities. The results of the study prove that these abilities predominate in only one area of activity. We also support the view that writers can be impartial promoters of science and technology. However, we propose this idea for discussion because writers demonstrate more the ethical side of the interaction between science and the human mind than they disseminate scientific facts. The further development of the study will be related to the study of the influence of science fiction on consciousness, namely how science fiction informs the reader about the current state of the world and draws attention to the changes we must make as a species.

The Policy of Industrialization, Collectivization and Atheization on the Example of Polish Diaspora of 1930–1940 in Siberia

The article provides the overview of 20 years’ history of Polish diaspora in Siberia during the period of socio-political upheavals in the first half of XX century. The author pays special attention to reasons for Poles appearance in Siberian villages. Poles appeared in Siberia first in the nineteenth century as exiles, however, by the end of the century, representatives of different social classes, including peasants, began to resettle in Siberia on own free will. Consequently, in 1885–1914 there were already about sixty villages and hamlets on the territory of Siberia, inhabited mainly by Poles. Even though, the Soviet authorities implemented educational reform that was aimed at opening schools with the Polish language of education, including Siberian villages, between 1921 and 1924, the repatriation of Polish peasants to their historical homeland was carried out. Later on, imperious industrialization, collectivization, and atheization policies became a trigger for the beginning of mass repressions against Polish diaspora in the 1930s–40s on the territory of Union of Soviet Socialist Republics (USSR) and particular in Siberia.

The concept of monument in the map of 1942. Ibagué, Colombia.

The beginning of the concept of architectural monument in Colombia is in the laws from the late XIX century and early XX century. We recompose the international context through the technic of aero photography, used by the Military Geographical Institute during the Second World War and the consequent tensions between U.S. and the powerful nations of the axis in relation to Colombia and Brazil in Latin America. The Liberal Party emerges like an ideology that tried to reorganise the country through the establishment of education and control the soil. This party negotiated a pact to stop the Colombian-Peruvian war 1932-1933, and signed the Roerich Pact in 1935 to protect the monuments. Therefore, the 1942 plan is the end of a process of mapping the national territory and the generation of criteria about cultural heritage in the first half of XX century, and the base to study how it affected the protection of architectural monuments up to date.

Armenian Migrations to South Caucasus in the first half of XX century

Armenian Migrations to South Caucasus in the first half of XX century

ДЕЯКІ ОСОБЛИВОСТІ ОРКЕСТРОВОГО ПИСЬМА А. БЕРГА У СВІТЛІ КУЛЬТУРНО-ПАРАДИГМАЛЬНИХ ЗМІН ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

The purpose of the article is to disseminate features of orchestral writing of A. Berg as one of the most prominent figures of twentieth century music in the context of cultural and paradigmatic shifts. The represented scientific article uses such methods of research as systematic, functional, comparative. Scientific novelty of the article is caused by the fact that it is foremost examination of A. Berg’s orchestral writing in the aspect of incarnation of views on spacetime. Conclusions. A. Berg’s orchestral writing is a phenomenon that has not been sufficiently studied. On the one hand, it continues to develop in accordance with the tradition if the Late Romanticism; on the other hand, it reflects changes in views on time and space, that have transpired in European culture of the first half of XX century through paradigmatic diversity. The means of orchestral writing incarnate (objectify) determined by the culture and the context “non-classical” views on spacetime, intertwined with the classical ones. Space, constructed by A. Berg, has such features, as: 1) being organized from multiple constituents as a result of multiplication of orchestral functions; 2) heterogeneity, caused by almost autonomous increase and decrease of number of voices; 3) instable density on the microlevel and macrolevel of the composition. Diagonal logic of textural and timbre organization of the orchestral texture produces differentiated and diversified time. However, A. Berg’s time reveals its genetic relation to another understanding of time, linear, continual, anthropologic in its essence. Influence of continuity reveals itself in the predominance of horizontal thinking, linearity (even in changes of timbre), incarnated in diagonal dimension of the music texture.

ИНТЕРЬЕРНЫЙ ДИЗАЙН И АРХИТЕКТУРА СКВОЗЬ ПРИЗМУ ВРЕМЕНИ: ОТ КОНФЛИКТА К СОТРУДНИЧЕСТВУ

As a research area, interior design took shape in the 20s of the last century, despite the fact that the practice of decorating living spaces dates back many hundreds of years. However, the "self-sufficiency" of design and its connection with architecture to this day is the subject of scientific discussions of urban specialists, historians, art historians, and anthropologists. The article discusses the leading artistic styles and trends that prevailed in architecture and design from the point of view of their mutual influence on each other. Time frame of the research: from the middle of XIX century to the first half of XX century.
 As a result of the research of foreign experience in the formation of interior design, the main stages of the movement development and its relationship with architecture in two formations were identified: activities directly dependent on architectural decisions, activities that determine the entire design process to a large extent: from the functional zoning of the premises to the features of the placement of utilities in the building.
 Entering the information era in art as a whole is characterized by the rejection of slogans that clearly delineate stylistic boundaries and determine the role of a designer in creating the living space. The determining factor influencing the integrity of the building’s appearance in a modern view is the harmony of the facade and the internal content, which was made possible thanks to the equal interaction of the architect and designer, starting from the first half of the 20th century.

THE DEVELOPMENT OF WOMEN'S LITERATURE IN CHINA IN THE FIRST HALF OF THE XX CENTURY

This research is about the development of an important part of Chinese literature -women’s literature in XX century. In the beginning of XX century the number of women writers who wrote fiction works increased rapidly. The uneasy situations of the country such as revolutionary movements in the beginning of XX century, China-Japan war, monopole government of Mao Zedong, persecuting the democratic movements, deporting intelligent people to the “re-educating” camps and other conditions were not able to obstacle the women to enter the literature world. On the contrary, interfering of women in social-politic life of the country got stronger in the second part of the XX century. The various movements of women, journals and newspapers and societies of women were organized. The role of women in social life became more noticeable and women literature developed more. Women writers such as Bin Sin, Lin Shukhua, Lu In, Din Lin, Syao Khun, Shi Pinmey, Dzao Min, Lyui Bichen, Chjan Aylin got an important place in social-politic and moral-cultural life of the country with their works. Many of these women participated actively in literary processes and public events. In this article some of the mentioned women writers’ life and work will be discussed in detail. The women writers mentioned in this article are confessed not only in China, but also in the world’s literature. The problems risen in women’s works, the real events described by them play a significant role in gaining more knowledge about the history of China in the first half of XX century and enriching our imaginations regarding to literature processes. KEY WORDS: Literary ideology of Mao Zedong, women’s literature, Bin Sin, children literature, Diaries “Letters for little pupils”, Chzan Aylin.

ПЕДАГОГІЧНА ОСВІТА В ДРОГОБИЧІ (кінець XVIII – перша половина XX ст.): до передісторії Дрогобицького державного педагогічного університету імені Івана Франка

The development of pedagogical education in Drohobych during the last quarter of XVIII – first half of XX century is analyzed, systematized and summarized in this article. The methodology of the research was based on the principles of scientific, historicism, the author’s objectivity, methods of analysis, synthesis, as well as especially historical methods: historical-hentic, historical-systemic, historical-typological. The scientific novelty is that for the first time the authors systematized and generalizes the historical facts about the development of pedagogical education in Drohobych before the formation of the Drohobych Ivan Franko State Pedagogical University (1940). The authors propose to the history of teacher training in Drohobych periodization’s within the studied time frames. In general, four institutional stages of the development of pedagogical education in the city are proposed: the first stage is the activity of the high school (college) of the Order of St. Basil the Great (1775 – 1784), whose students received scholastic education within the “seven free arts”, and some of them eventually became educators; the second stage – functioning of the main (normal) school of the Basilian monks, who had a preparanda course (late XVIII – first half of the nineteenth century), which made it possible for graduates of main (normal) school to apply for teaching positions in trivial and parochial schools; the third stage – the activity of the Franz Joseph I Gymnasium (1858 – 1918), some of whom became primary and secondary school teachers; the fourth stage is the preparation of future teachers in the framework of Ukrainian and Polish private women’s teacher’s seminars (1920 – 1936). The authors argue that the formation of the Drohobych State Teachers’ Institute in 1940, although it took place within the framework of the formation of a new system of education for Western Ukraine, but was still a continuation of the more than 150-year tradition of pedagogical education on the Yuriy Kotermak’s and Ivan Franko’s land.