Imagery System Research Articles

THE SYMBOL OF FIRE IN THE POETRY OF VAHAGN DAVTYAN

The imagery system of Vahagn Davtyan's poetry is shaped by the semantic pairings of land and fire, which on the one hand stand for land-homeland, nourishing power, holding power, and on the other hand for spiritual power, dream and longing. Davtyan dreamed of a fire all his life, but unfortunately the smoldering fire was at the core of his imagery as longing and illusion. In Davtyan's poetry, both earth and fire have a mystery that indicates the beginning, the origins. The poetic series "Ankez Moreni" is a vivid testimony of this. Symbolic solutions of fire are shaped by combinations of fire-freedom, life-fire, fire-immortality, fire-light, fire-woman, fire-passion, fire-longing. Symbolic signs of fire appear in the series as dead distant stars that "weep a tear in the night," with a splash of dead honey as "heavy light" and "dissolved sun," as the color of an exploding pomegranate as noon, "as a red cry of joy", with the image of a golden ray of the rejoicing sun. From among the cheering flames, which in this case symbolize the native nature burned in blood and fire, the once living image of that nature suddenly appears, appears and sinks into the flames again. The author compares that "blue and green" vision to the sunrise in the snowy mountains, which sprinkles down the valley, enriching the symbolic system of fire with another one. Even the native flock is sunny, whose feather the mother stork catches in its beak, the horses of the native world are red like flames. And the song of patriotism, as a holy liturgy, anoints the relic and remains like incense, unfolds its fiery lamentation in the burnt and thirsty desert. The symbolic symbols of the four elements of natural philosophy are often combined in Davtyan's pictorial solutions, where the Davidian fire with multi-meaning symbolic solutions is at the core of various manifestations of national suffering.

Method of “detachment” in Leo Tolstoy’s trilogy “Detstvo”, “Otrochestvo”, “Yunost”

The article examines the method of “detachment” in Leo Tolstoy’s trilogy “Childhood”, “Boyhood” and “Youth” (“Detstvo”, “Otrochestvo” and “Yunost’”) as one of the theoretical concepts characteristic of Tolstoy’s entire creative work. This method first appeared in the works of Russian formalists R. Yakobson and V. Shklovsky who made their contributions to the literary theory. Their imagery system perception of a literary work is based on the conviction that in fiction language is removed from the ordinary automatic perception. As the formalists believe, the goal of art is to give a sense of a thing as vision, not as recognition. The creation of art should bring forth the truth about existence. This “emergence of truth” (a term coined by M. Heidegger) is conceivable only on the basis of creation, i.e., on the basis of the “making” of a literary work. Tolstoy’s “strange” perception of the material world and ordinary phenomena speaks not of recognition, but of sensitivity, when one sees a particular object or a phenomenon for the first time. The method of “detachment”, to which Tolstoy came through his own artistic sense, allows one to grasp the actual deep essence of ordinary objects and phenomena within the author’s conception of his work. Thus, an ordinary object (a flapper), seen by the author with a “strange” perception of things, provides the impetus for the formation of an artistic creation about the world of childhood, boy-hood and youth.

ANALYSIS OF TONI MORRISON'S WORKS IN LINGUISTICS

This article attempts to reveal Toni Morrison's works from a linguistic perspective. Morrison's creative style, the writer's chosen means of expression, word usage, and imagery system are analyzed linguistically. The writer's works reflect African-American culture and history, explore ethnic identity, and explore social issues through language. The article emphasizes the relevance of Morrison's works for modern linguistic research and offers new scientific views on her creative approaches. The metaphors, unique dialogues, and aesthetic elevation of language used in Morrison's works are also discussed, highlighting their role in linguistics.

Artificial intelligence-based smart agricultural systems for saffron cultivation with integration of Unmanned Aerial Vehicle imagery and deep learning approaches

This paper presents an integrated Unmanned Aerial Vehicle (UAV) imagery system and artificial intelligence-based smart farming for saffron cultivation. This work is about monitoring the growth of saffron flowers through UAV imagery every week or month during the pre-harvesting time while the percentage of the covered area by leaf and saffron flowers is calculated. This is crucial for predicting saffron growing areas over cultivated regions. From the vertical viewing of UAV imagery from above, it is problematic from the bird’s eye perspective to identify the particular saffron-growing areas of things, so the multi-class classification of flowers (subjects) recognition system is proposed. So, the implementation of this work is divided into four phases. The first two phases (Phase 1 and Phase 2) are about the algorithms for Saffron growing region detections and predictions using the modified You Only Look Once (YOLO) higher version model followed by statistical analysis based region corner detections. The outcomes of the first two phases are used to form a database of saffron flowers with different scales, orientations, and deformations. This is further used to build a two-class classification model in the third phase (Phase 3) that discriminates saffron vs. non-saffron flowers. In the fourth phase, the two-class classification model is extended to a multi-class flower recognition model for recognizing 900 flower images database available in the largest social media website dedicated exclusively to gardening in the Phase 4. Extensive experiments are conducted, and the performances are compared with some existing state-of-the-art methods that show the superiority of the proposed system.

Образ метафизического вампира в художественном пространстве рассказа «Упырь-психопат» Ю. В. Мамлеева

The paper is dedicated to the analysis of the short story “A Psychopathic Ghoul” by Yu. V. Mamleev through the lens of necromythopoetic reception. The research aims to reveal the specifics of the image of the metaphysical vampire in the work. The paper analyzes the plot and compositional features of the short story, focusing on its imagery system of metaphysical genesis, plot-compositional structure, and mortal motifs. The author possesses an understanding of life and death as an integral part of the cycle of being. Leaving this world does not mean the end, but only a transition to an unknown, mysterious world of a new existence. The research is original in that it is the first to consider the unique mythopoetic worldview of the short story “A Psychopathic Ghoul”, where the features of a qualitatively different state of being, i.e., life after death, are explored. As a result of a detailed analysis, it was found that the text is built around the protagonist’s transcendent entry into the forbidden spheres to explore the spiritual cosmos of human existence, the ghoul is the bearer of unknown forces that lurk in the depths of every person. The conflict between the insatiable desire to find answers to spiritual, metaphysical questions and the impossibility of achieving this is key to the philosopher’s short story.

On Some Trends of the “Women’s Wave” of in Modern Russian Cinema

The article looks into the phenomenon of the “women’s wave” in modern Russian cinema. Sure enough, the films produced by women directors in the 2000s, the 2010s and the 2020s are not identical; their imagery system has transformed under the influence of the sociopolitical context, yet certain general trends can be distinguished. The author picks out the three main ones, designating them as “romantic”, “political” and “rebellious”. These thematic areas characterize the ongoing processes in modern Russian society and take films by women directors beyond the exclusively “women's issue”.

On the Arabic Concept of Houries (ḥūr ʻīn) and its Representations in the Literature of the Bulgarian National Revival

The present study draws on texts from the classical Muslim exegetical tradition discussing the houries (ḥūr ʻīn) – one of the eschatologically central, but insufficiently defined Qur’ānic concepts referring to key notions of the heavenly virgins. Unlike other aspects of Islamic doctrine, early eschatology entails a more emotional and sensual sacred imagery system subsequently turning into a rich source of motifs and allusions for various interpretations not only in Muslim tradition itself but also in the cultural perceptions of the Other among non-Muslims. The article aims to reveal the Bulgarian uses of the term houries as one of the realia in Bulgarian literature from the period of the nineteenth-century National Revival and to comparatively and imagologically trace the artistic representations of the images of the heavenly virgins. The analysis is focused on the approaches of Sofroniy Vrachanski, Georgi S. Rakovski, and Hristo Botev to the presentation of the somatic and the sexual in the notions of afterlife characterizing the religious Other, as well as the reasons for their desacralization, which have formed sustainable attitudes in the context of the emerging modern Bulgarian nationalism.

Picture this! Suggested instructions for guiding the Neuroscience of action imagery: A commentary on Krüger et al. (2022).

Our commentary expands the multisensory and modulating factors proposed by Kruger et al.'s (2023) internal models of action imagery and sensory crossovers. We will discuss the essence of imagery experiences as conceptual intersections among sensory, movement and affective properties that require further neuro-anatomical-contextual mapping to better understand the practical application of imagery. Accordingly, we will propose alternative ideas of daisy-chaining and motor imagery systems. The role of imagery speed, and other properties of movement for refining movement and self-regulation will be considered along with sex as a modulating factor in intra-individual abilities to image movement.

Interaction between the big adventure form and the composition of a neo-romantic literature

The subject of the study is the composition of a neo-romantic story, the object is the stories by Alexander Grin «The Headless Horseman (18th Century Manuscript)», «The Taboo», «Hundred miles along the river». The author examines such aspects as the neo-romantic compositional features of the small genre, which probably emerged as a result of appealing to adventure novels, and attempts to correlate the concepts of «neo-romantic literature» and «adventure literature». Grin’s short stories, describing one event, are typically divided into chapters. This contradicts the genre logic, since it slows down the pace of the narrative. Allusions to the adventure attributes cement the composition and imagery system of the neo-romantic story and adventure novel. The affinity of poetics makes it possible to project the theory of adventure composition onto the neo-romantic work. It allows systematizing the neo-romantic composition features. The analysis draw the following conclusions. Division short stories into chapters seems to be an allusion to the adventure novel, for which is a way of structuring a large number of events. Allusiveness and play with points of view reflect the principle of dialogicity. The reader’s perception of allusions to adventure works performs a genre-forming function for an adventure novel, placing it in the context of adventure literature. In a neo-romantic story, allusions open up the dialog and play with readers’ expectations and non-neo-romantic poetics. The principle of play is innate in adventure as a phenomenon: events are lived through by the protagonist for their own sake. Although the techniques are common, the goals of a neo-romantic story and an adventure novel differ. A neo-romantic story deals with the personality behind its usual reality, not extreme situations as such, and a single event is sufficient to achieve this goal.

GENRE AND NARRATIVE FEATURES IN THE NOVAL “OLGA” OF B. SCHLINK

The article analyzes the genre characteristics in the novel “Olga” of B. Schlink. The novel includes features of romance, detective and generation novels. The life of the main character Olga is revealed through everyday world of Germans and fits in well with a broad historical context. Author’s intention is mirrored in the novel via the imagery system, including presence of three narrators, textual montage, epistolary technique, motif of deafness with significant symbolic meaning. Contrast as a stylistic mean is realized at several levels – characters, ideas (meditative / dynamic wandering), structure.

Maize Crop Detection through Geo-Object-Oriented Analysis Using Orbital Multi-Sensors on the Google Earth Engine Platform

Mato Grosso state is the biggest maize producer in Brazil, with the predominance of cultivation concentrated in the second harvest. Due to the need to obtain more accurate and efficient data, agricultural intelligence is adapting and embracing new technologies such as the use of satellites for remote sensing and geographic information systems. In this respect, this study aimed to map the second harvest maize cultivation areas at Canarana-MT in the crop year 2019/2020 by using geographic object-based image analysis (GEOBIA) with different spatial, spectral, and temporal resolutions. MSI/Sentinel-2, OLI/Landsat-8, MODIS-Terra and MODIS-Aqua, and PlanetScope imagery were used in this assessment. The maize crops mapping was based on cartographic basis from IBGE (Brazilian Institute of Geography and Statistics) and the Google Earth Engine (GEE), and the following steps of image filtering (gray-level co-occurrence matrix—GLCM), vegetation indices calculation, segmentation by simple non-iterative clustering (SNIC), principal component (PC) analysis, and classification by random forest (RF) algorithm, followed finally by confusion matrix analysis, kappa, overall accuracy (OA), and validation statistics. From these methods, satisfactory results were found; with OA from 86.41% to 88.65% and kappa from 81.26% and 84.61% among the imagery systems considered, the GEOBIA technique combined with the SNIC and GLCM spectral and texture feature discriminations and the RF classifier presented a mapping of the corn crop of the study area that demonstrates an improved and aided the performance of automated multispectral image classification processes.

The Potential of Landsat 8 OLI Images in Coastline Identification: The Case Study of Basra, Iraq

Coastline extraction plays important functions in coastal resource management, natural resource preservation, and sustainable coastal development. Long-term records of Landsat data series are available for free downloading, being highly potential for coastline extraction. Furthermore, remote sensing imagery systems along with the application of digital image processing techniques can be utilized in coastline extraction. However, it is challenging to accurately extract coastlines with coarse spatial resolution due to the dynamic properties of various types of coastlines produced by sea-level changes from tides and storms. Moreover, the use of conventional surveys and the need for high-resolution images involve substantial costs and efforts, especially when coastlines of long distances are involved. The current study compared the accuracy of extracting coastlines from Landsat 8 OLI with the observed coastlines from GPS data. In particular, this study focused on distinguishing water areas from non-water areas on the coastline of a selected concrete port. The analysis involved the use of both MNDWI and NDWI indexes. The statistical results demonstrated the accuracy of MNDWI (RMSE of 2.363) and NDWI (RMSE of 2.491 m), which suggested the potential of using Landsat 8 OLI in coastline identification.

Analyzing the Temporal Theme and View of Time in Li Jinfa's Poetry

As a pioneer of symbolism in modern Chinese poetry, Li Jinfa's works have received complex evaluations in literary history. In the first half of the twentieth century, Li Jinfa's poetry contrasted sharply with the realism and romanticism of the time, and his obscure style, though criticized, opened up new aesthetic paths in poetry. This paper delves into the theme of time and the view of time in Li Jinfa's poetry, revealing his deep feelings about the passage of time and his reflections on modernity through a close reading of Li Jinfa's poetry. Starting from the theme of time in Li Jinfa's poetry, this paper explains Li's attitude towards the past and the present moment, as well as Li's criticism of the negative effects of modernity. From a cross-section of the single image of "bee", the paper also examines the special position and meaning of "bee" in Li Jinfa's imagery system. In conclusion, this study illustrates Lee Goldfarb's reflection on linear time and the heterotopias and heterotopias he creates in his poetry, demonstrating a rebellion against the rhythms of modern life and an emphasis on momentary experience.

Женские образы в романе Ю. Н. Шесталова «Откровения Крылатого Пастора»

the article is a part of the complex of studies of the system of artistic images. The work implements a gender approach to understanding the image in the novel by Yu. N. Shestalov “The Revelations of the Winged Pastor”. Objective: to identify the peculiarities of creation of women’s characters and reveal the ways of their representation in the novel. Research materials: the novel by Yu. N. Shestalov “The Revelations of the Winged Pastor”. Results and novelty of the research: For the first time, a gender approach is applied to the figurative system of Yu. Shestalov’s novel “Revelations of the Winged Pastor”. The result of the research is the identification and description of the features of the created women’s characters in the novel “The Revelations of the Winged Pastor” by Yu. N. Shestalov. This makes it possible to determine the role of each of them in the imagery system of the work. The mythological images of a woman presented in the work in poems and in prose are the first Woman-mother, woman-perpetrator (“The Golden Woman”), the guardian of wisdom Sorni-Naj (“The Golden Goddess”) and realistic women’s images (the images of a mother, a wife, a beloved, a multifaceted WomanMuse). The outline drawn by poetic lines is more emotional and colorful; in the epic part of the book it is more complicated and detailed. The women’s image in the Mansi novel is complemented by a reference to A. Blok’s “The Stranger” and Dante’s Beatrice. The mythological and biographical are combined in the women’s artistic images created by the author

Վ. Դավթյանի «Անխորագիր» վիպակ-էսսեի լեզվաոճական որոշ առանձնահատկություններ (ոճական կառույցներ և խոսքի կառուցվածքային բաղադրիչներ) / Some Linguistic and Stylistic Features of the Novella-Essay “Untitled” by Vahagn Davtyan (Stylistic Structures and Structural Components of Speech)

The article aims to examine the autobiographical novella-essay "Untitled" by Vahagn Davtyan, a contemporary Armenian poet, publicist, translator, and playwright. The study explores certain linguistic aspects and features of the writer's documentary prose. Given that an author's style is one of the crucial prerequisites for the development and enrichment of their native language, and that the poetic contributions and positive influence of Vahagn Davtyan have been extensively highlighted by prominent linguists and literary critics, we have attempted to uncover some of the linguistic-stylistic and individual traits of his documentary prose. The focus is placed on the imagery system of Davtyan’s prose, highlighting the merits of Davtyan’s prose style.

Olonkho of Olekminsk District in 19th and 20th Centuries: Traditions and Transformations

The situation of traditional storytelling is considered in terms of adherence to the canons of archaic olonkho. The material for the study consists of olonkho texts that were in circulation in the Olekminsky district of Yakutia. Texts were selected for analysis, among which early recordings of olonkho variants from the mid-19th century reveal transformations that distinguish them from traditional olonkho. These transformations are analyzed from the perspective of modern folklore studies — the preservation of the original archaic features of the epic. The author studied the plot-compositional structure, motif fund, and imagery system in early recordings of olonkho from the 19th and 20th centuries in Olekminsky. Deviations from established epic canons were identified. Structural-typological and comparative-comparative methods were applied. The scientific novelty of the study lies in the fact that this aspect of the epic heritage of the Olekminsky district is being studied for the first time. As a result of the study, motifs from world, including Russian, fairy tales were discovered in the content of early recordings of Olekminsky olonkho. This is explained by the unique socio-cultural conditions of the region, in particular, the coexistence of several nationalities. The author attributes such additions to violations of the epic traditions of Yakut storytelling. It is noted that such violations are not found in the epic works of storytellers of the 20th century.

THE STYLISTIC CHARACTERISTICS OF K. ERZNKATSI'S VERSES

This article is devoted to the examination of linguistic features of K. Yerznkatsi’s poems. Kostandin Yerznkatsi is the first singer of nature and love in the Armenian medieval ballads. There is very little information about K. Yerznkatsi. He lived and created from the second half of the 13 the century to the first decades of the 14 th century. In terms of thematicity and content, K. Yerznkatsi’s verses are divided into the following groups: religious, moral, nature, love. However, in general, the poet's work has a personal-social, lyrical character. The poet's mood, environment, world perception, many internal and external circumstances naturally play a decisive role in the imagery system of each work. K. Yerznkatsi's poems stand out for their unique linguistic structures and stylistic features. They are rich in epithets, comparisons, metaphors, repetitions, contrasts. The use of these stylistic means gives the columns unique expressiveness and sensitivity Kostandin Yerznaktsi’s lines of are about longing and love for life, heartfelt desire to enjoy it, hope and joy, faith in achieving happiness. It is interesting that along with the allegorical manifestations of the feeling of love, unlike those of other medieval authors, K. Yerznkatsi's poems are often devoid of religious interpretations, because K. Yerznkatsi was a man of a more secular era of thinking and approached nature, its awakening with a more sober view, created spiritual songs of nature, expressing in them his naturalist doctrine, which were again based on the almighty idea of God.

Contrastive analysis of linguocultural connotations of zoonymic imagery in English, Ukrainian and Russian proverbs

The use of contrastive analysis as a linguistic research method is effective at all language levels, especially at lexico-semantic and lexico-phraseological levels. Zoonymic images fixed in the language are associated with national and cultural stereotypes, value standards, which testifies to the individuality of the figurative thinking of speakers of the language, as well as to differences and similarities of language worldview. The article presents a contrastive analysis of the linguocultural connotations of zoonymic images in English, Ukrainian, and Russian proverbs. In the analyzed languages, the imagery of the proverb with a zoonymic component is formed by two main ways: as the figurative meaning of the whole sentence with the direct meaning of its component parts; as the figurative meaning of the parts of the sentence with the figurative meaning of the whole sentence. The following types of formal similarities and differences in English, Ukrainian, and Russian proverbs with a zoonymic image are identified: full logical and figurative similarity; logical and figurative similarity at the level of the whole statement and differences at the level of words; identity of logical meaning and complete difference in imagery; similarity of imagery and differences of logical meanings. Similarities and differences in zoonymic imagery are explained by a number of reasons: differences in folklore imagery system; differences in the national and cultural systems, which are reflected in proverbs; borrowing images from well-known religious or literary texts; typological and areal similarities and differences of the figurative systems. In various languages, the symbolic meaning of zoonyms is based on the importance of a certain animal, bird or insect in economic activity, in social and everyday life, in the mythological and religious worldview of the people. Specific examples (bull / ox; бик /віл; бык / вол) show that zoonymic images in different languages can completely coincide in their semantic meaning, be similar, or completely different. Zoonyms are formed according to mental patterns based on metaphorical transference and have evaluative and linguocultural connotations.

The functionality of dream reality in an emigrant text

(E)migration as a kind of initiation stage in the fate of an emigrant, when one’s life seems to start from scratch, typologically defines an emigrant text as a structure of incorporation into the social layers of a new society. This process happens mostly unconsciously and is characterized by certain typological markers, such as reference to mythological and folkloric sources, pretexts from home and world culture, stylizations, carnival, parodies, etc. In this sense, a collection by Ilya Lipkovich, Stan Lipovetsky and Igor Mandel titled “Morpheus and Orpheus. Both Dreams and Spirits: Eyewitness Dreams and Poet’s Commentary” is a model of emigrant writing, broadcasting archetypal conventional imagery systems and allowing a reader to survive the traumatic situation of the still incomplete transition.

The Analysis of Underwater Imagery System for Armor Unit Monitoring Application

The placement of armor units for breakwaters in Indonesia is still done manually, which depends on divers in each placement of the armor unit. The use of divers is less effective due to limited communication between divers and excavator operators, making divers in the water take a long time. This makes the diver's job risky and expensive. This research presents a vision system to reduce the diver's role in adjusting the position of each armor unit. This vision system is built with two cameras connected to a mini-computer. This system has an image improvement process by comparing three methods. The results obtained are an average frame per second is 20.71 without applying the method, 0.45 fps for using the multi-scale retinex with color restoration method, 16.75 fps for applying the Contrast Limited Adaptive Histogram Equalization method, 16.17 fps for applying the Histogram Equalization method. The image quality evaluation uses the underwater color quality evaluation with 48 data points. The method that has experienced the most improvement in image quality is multi-scale retinex with color restoration. Forty data have improved image quality with an average of 14,131, or 83.33%. The number of images that experienced the highest image quality improvement was using the multi-scale retinex with color restoration method. Meanwhile, for image quality analysis based on Underwater Image Quality Measures, out of a total of 48 images, the method with the highest value for image quality is the contrast limited adaptive histogram equalization method. 100% of images have the highest image matrix value with an average value is 33.014.