Kind Of Dialogue Research Articles

Intermediality of Modern Art and Technologies of its Perception

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial.

Deliberative Democracy: Affirmative Action Policy on the 30% Quota for Women in Parliament

This paper aims to determine the process of deliberative democracy in the use of affirmative action 30% quota for women as a starting point in increasing women's representation in parliament. This is because in gender equality in politics in Indonesia there is a large gap between the representation of women and men even after the policy is enacted. Through deliberative democracy, increasing women's representation can use policies made through discursive means in civil society. The method in this paper is a descriptive qualitative method using the author's analysis of book reviews and research with related themes. The results of this paper study the ratification of affirmative action policies in 2023 through various kinds of dialogue and rejection. Arguments for rejection include (1) equality is considered an individual quality, not a quota, (2) quotas are considered an obstacle, (3) psychological constraints on women, (4) gender construction against women. The rejection argument makes the affirmative action policy a massive debate in the public sphere which becomes the aspiration of women activists to fight for in the political system. Habermas' view states that a legal product will gain strong legitimacy if in the process of making it through debate and discussion in the public sphere.

A Short Discussion of Stephen Houlgate's Hegel on Being

It is a heroic enterprise to develop a systematic reading of Hegel's Doctrine of Being, the first of three books in the Science of Logic. The basic idea of Houlgate's grand interpretation of Hegel's three parts of this Doctrine, which I call the Logic of Quality, Quantity and Measure, is that Hegel demands a ‘presuppositionless derivation of categories’ (II: ix). Hegel on Being (in short: HoB) presents a thoroughgoing and rigorous interpretation in a kind of dialogue (as I would characterize what HoB marks as ‘Excursus’) with Kant (I: 19–46, 307–73; II: 171–79) and especially Frege's formal logic and his attempts of a predicative definition of numbers (II: 25–138). In any case, HoB makes us aware of the really problematic presuppositions in post-Fregean Analytic Philosophy.

Controversy and the Hostile Reader: The Appeal of George Anne Bellamy’s Apology

ABSTRACT This essay examines the ways that controversial texts were read by reader-critics who sought to engage with their reading in new ways in the eighteenth century. It takes as its primary example An Apology for the Life of George Anne Bellamy (1785), the autobiography of a woman actor in mid-eighteenth-century Britain. Bellamy was praised for her sentiment but criticized for her representation of facts, despite the fact that where her descriptions can be corroborated they are generally accurate. In addition to examining published critical reactions, this essay looks in depth at the annotations of two early readers in a surviving copy of the book to document how hostile readers read works like Bellamy's Apology in order to judge, correct, or otherwise speak back to the author in a kind of dialogue. This essay suggests that women writers like Bellamy were particularly susceptible to the hostile reader because of more general distrust of women as reporters of fact, and that hostile readers were particularly interested in controversial texts that prompted engagement.

What is the Moral of ‘Morale du joujou’? Toys and the Interconnections Between Human and Thing

ABSTRACT This article focuses on human-thing interconnections in Baudelaire’s 1853 essay on toys, ‘Morale du joujou’, and shows how their entanglement finds echoes in his aesthetic writing. The article shows how the essay on toys indirectly thematizes the reciprocally transformative, embodied and participatory process that can also be traced in Baudelaire’s account of artistic creativity. The human imagination is presented in Baudelaire’s essay, as in his art criticism, as entering into a kind of dialogue with the external world, which complicates the line between, and any hierarchical relationship between, subject and object.

Local governance of the mining industry—five Finnish examples

In this article local governance of mining from the perspective of Finnish municipalities is examined. Local governance refers to the guidance of the local development of mining and its positive and negative effects in the interaction between different actors. At the time of this study, one of the themes of the Finnish mining debate was how the municipality should prepare for the entry of a mining project into its area. In addition, there was talk about whether, why, and how the mining company should be involved in the development of the area. The situation was new, as it was decades since the previous construction of new mines. Article is based on a qualitative case studies on five Finnish municipalities with metal ore mining was operated or planned. These case studies are examined retrospectively be asking what was desired at that time, what responsibilities and duties between municipalities and mining companies were seen, and to whom did they belong? The article evaluates the situation immediately after the Finnish mining boom.The role of the municipality as a political actor in mining development was different in each case. The main question was whether to handle mining development as a political issue or whether to take it as granted as a neutral industrial issue. It was clear that the mining companies were expected to develop a completely new kind of dialogue with the surrounding society and the local governments. Environmental issues and impacts caused the largest discussions in the local level.According to this research, municipalities must multi-task between the land-use planning, local governance of social and environmental issues, and economic development. Municipalities must take and manage risks, just like mining companies. For these municipalities the mining boom raised various controversial issues and economic challenges. Many ideas about solutions have to date progressed to a broader societal debate. Now these issues are on display e.g., in the context of the Mining Act reform discussions. It can be said that the mining boom challenged the actors to develop cooperation, proactive collaborative operating models and to reform the methods of environmental impact assessments. They have also given greater weight to social impact assessment and the issue of developing it as an independent process.

Постмодернистские тенденции в романе Персиваля Эверетта «Персиваль Эверетт Верджила Рассела»

The aim of the study is to identify the main style-forming techniques of postmodern aesthetics, which received an original refraction in the novel “Percival Everett by Virgil Russell” (2013) by the contemporary American writer Percival Everett. Being a prominent representative of postmodernism, P. Everett in his work actively refers to the traditional methods of this direction. The article analyses the novel, in which the postmodern game both with the reader and with the text of the novel itself becomes the dominant category. The text of the novel is rich in metatextual insertions, intertextual references to the Bible, literary works by T. Carlyle, T. S. Eliot, J. Joyce, A. Dante, as well as the works of B. Russell, G. Frege and the work of M. Escher. If the works of the contemporary American writers of the second half of the 20th century regularly become the subject of scientific research, then the works on the stated issues published at the beginning of the 21st century have not been sufficiently studied. In this regard, the scientific novelty of this study lies in the fact that for the first time in Russian literary criticism, an analysis of P. Everett’s novel “Percival Everett by Virgil Russell” is provided in the context of the designated topic. As a result, it was proved that the writer actively uses the techniques of postmodernism, which allows him to show his involvement in the traditions of world literature and enter into a kind of dialogue with his predecessors.

THE PRINCIPLE OF DOMINANCE IN THE CHARACTERS OF THE NOVEL “DEMONS” BY F. M. DOSTOEVSKY (IN LIGHT OF THE ETHICAL TEACHINGS OF A. A. UKHTOMSKY)

The article reveals the author’s model of the world in F. M. Dostoevsky’s novel “Demons” based on the analysis of the genre content of the work. Appeal to the allusive plan of the novel (allusions to the motifs, images, landscapes in Goethe’s drama “Faust” and I. S. Turgenev’s story “Faust”) allows the reader to engage in a kind of dialogue between Dostoevsky and his predecessors. However, the traditions of ancient Russian literature (traditions of the vision genre, orientation to the church calendar, reliance on the biblical word and Holy Tradition) allow us to draw a conclusion about the national originality of the work. In the hierarchical structure of the novel, the highest place is occupied by the Gospel Word and the patristic heritage, Sacred Tradition. The concept of personality in the novel allows us to reveal the ethical teaching of A. A. Ukhtomsky about the dominant and the chronotope. The article for the first time considers the Ukhtomsky’s concept of the dominant using the material of Stavrogin’s “confession” and the fate of Stepan Trofimovich, and concludes that a new dominant of heroes has been formed. The significance of the novel “Demons” lies not only in the warning about the destructive processes that can occur in society and in man, but also in the depiction of ways out of the crisis and restoring the personality, in particular, Shatov, Stepan Trofimovich and other heroes are helped by conciliar consciousness, faith in the Providence of God, love, and readiness for repentance. The study was carried out on the material of the reconstructed journal edition of the novel, carried out in the Complete Works (canonical texts).

Rosalyn Tureck and the principles of her work with baroque art codes

Statement of the problem. Musical art is one of the types of communication where people from different historical eras and cultures are in a kind of dialogue. However, it is necessary that all participants of the conversation either know the same language or have the “keys” to decode it, which, however, is not a guarantee that all participants of the communication process will adequately understand each other. This is due to the specificity of the perceptual process, the mosaic nature of culture, and the change of artistic paradigms. This is vividly illustrated in musical performance because the vast majority of modern artists work with texts from other historical eras. Recent research and publications. The study is based on works devoted to the questions of the understanding of the musical text (I. Sukhlenko), the performing interpretation (P. Thom, T. Verkina, M. Bondarenko, M. Sagalova and K. Timofeyeva), the philosophical foundations of rendition of musical works (G. Medina Riera, H. Hinrichsen), as well as the study of Baroque art (A. Paradiso-Laurin, U. Golomb, H. Meister, P. Williams, O. Slipchenko, I. Melnychuk and O. Dondyk). The purpose of the study is determination of principles of the performer’s work with baroque codes on the example of performing and editing versions of R. Tureck of “Aria and Ten Variations in the Italian Style” by J. S. Bach. The scientific novelty of the study based on the use of hermeneutic, interpretive and historical-cultural methods of analysis, lies in defining the basic principles of R. Turek’s work with codes of baroque art. Results. “Aria and Ten Variations in the Italian Style” by JohannSebastianBach is a vivid example of the boundless interpretative field of the outstanding composer’s work. Having analyzed the external and internal “reference points” of the work, its fundamental “interpretative codes” are defined: the title of the work, which has two components – “Aria” and “alla maniera Italiana”; genre; ornamentation; sound image of the instrument; Baroque era and symbolism of musical works. The activity of American pianist R. Tureсk is a bright page in the history of actualization of the works of the great cantor. That is why it was interesting to find out her principles of rendition of the interpretative codes of “Aria”: 1. Ornamentation. 2. Usage of modern resources for the realization of the composer’s idea. 3. A synthesis of ancient and modern, combining the experience of previous eras with modern perception of the music space. Conclusion. Baroque music has a whole palette of hidden meanings, senses, codes, and thus limitless interpretive potential. R. Tureck has once again proved this by sharing with the masses valuable comments and instructions on the pages of her pedagogical and scientific works, which open up a wide field for research.

Complexity, Dialogue, and Democracy: The Educational Implications

There is an unacknowledged disagreement on what kind of dialogue best supports democracy. Many view democracy as analogous to a law court and so view “democratic dialogue” as a contest between competing advocates who have acquired the kind of “steel trap” critical thinking skills that are ideal for winning in the external marketplace of ideas. Others assume that the propensity to seriously reflect on opposing viewpoints within the minds of individuals is ideal for democratic maintenance. It will be argued here that our love affair with “critical thinking” that tends to support an external battle of ideas harms democracy. It will be argued that the complexity of our common humanity, the complexity of our form of governance, the complexity of the approaches needed to face wicked problems, and the complexity of the internal engine of personal development requires that we learn to readily engage in open truth-seeking dialogue with those who hold opposing viewpoints and in so doing, enhance the dimensionality through which we view the world. With regard to the educational implications, this suggests that, since engaging in dialogue across difference is the essence of the pedagogical framework that anchors Philosophy for Children, Philosophy for Children ought to be embraced as an essential component of any educational enterprise that views cultivating democratic citizenship as part of its mandate.

Symbolic Classification and The Emergence of a Metaphysics of Causality

Symbolic Classification and The Emergence of a Metaphysics of Causality Owen Goldin what is distinctive about metaphysics as a mode of thought that emerged in the fifth century before the Common Era? How did it emerge out of early ways of conceptualizing the world as a whole, and why? Many answers have been proposed. One common view is that earlier modes of thought personify natural agencies; once this is abandoned, the way is open for discerning more complex regularities among natural events.1 Another view is that the process of "rationalization" introduced by the Greeks involves an implicit appeal to the individual's natural intelligence, in contrast to a dependence on an "inherited stock of wisdom."2 A third view is that the first Greek philosophers introduced inference as a way of navigating conceptual relationships, independent of the sorts of personal interactions among divinities related in mythical narrative.3 According to a fourth account, the mode of rationality that allowed for the development of ancient Greek metaphysics was a social [End Page 3] practice with the aim of persuasion, brought on by more democratic involvement in societal deliberations concerning law and policy.4 To these I add a fifth way of answering the question. Crucial to the emergence of Greek metaphysics is explicit distinction of ontological/causal priority and posteriority. Ancient Greek scientific explanations developed out of older, archaic modes of conceptualization, which I maintain have deep parallels with modes of conceptualization shared by many nonliterate cultures. Such modes of thought rest on an implicit worldview which can be called a metaphysics, in a loose sense, and are still worthy of philosophical consideration. I begin with a red flag that will be raised for many as soon as we start talking about the metaphysical traditions of nonliterate cultures. What counts as a metaphysical tradition? I make some distinctions. In the loosest sense, an account or tradition is metaphysical if it reflects a coherent worldview concerning the kinds of beings that there are and how they are related to one another. According to a stricter sense of the term, a tradition is metaphysical if it involves working through this worldview in an explicit and systematic matter. In an even stricter sense, a tradition is metaphysical if, in addition to being explicit and systematic, it merits being classified as "philosophical," itself not an unproblematic term. I here stipulate that an account is philosophical if it does not rest on premises that are specific to certain cultural traditions and employs inferential arguments that are in principle subject to refutation. Generally speaking, there are two ways in which a tradition that is metaphysical in the strictest sense can listen to one that is metaphysical in a looser sense. First, a metaphysician might examine the latter tradition in order to explore how, historically, it served as the root for the former. An example is Aristotle's interest in Hesiod as expressing metaphysical intuitions that later philosophers unpacked.5 By studying [End Page 4] the ontological presuppositions of the sort of account from which our own metaphysics is derived, one learns more about our own ontological presuppositions and what we gain from them.6 This sort of dialogue carries with it the danger that the later thinker presupposes that—in the spirit of "you have to start somewhere"—the earlier thinkers were simply doing a bad job working through their own theories; Aristotle has often been accused of precisely this.7 Another sort of dialogue is possible as well. An alternative metaphysical tradition can reveal the possibility of a radically different way of conceptualizing the causal and ontological structure of the world, one with its own advantages. In such a case there is shared set of problems at issue, shared points of reference within the philosophical literature, and a shared understanding of what philosophical argument is. But philosophical insight might also emerge from the kind of dialogue in which a developed metaphysics that conforms to certain standards of inferential argument confronts a way of thinking that is metaphysical in a looser sense. A substance-based ontologist can be led to reflect on whether the world has to be cut up as she does by studying Aztec...

Теоретико-методологічні аспекти використання діалогу з метою організації продуктивної взаємодії суб’єктів освітнього процесу

The article in the historical and philosophical, psychological and pedagogical aspects considers the current problem of improving pedagogical education - the use of dialogue in the implementation of effective interaction of the subjects of the educational process. It is emphasized that the modern pedagogical system is faced with objective processes of democratization in society, with the requirements of cultural development in terms of the scientific and technological progress, and is characterized by changing disciplinary and compulsory regulatory dominant of education to the dominant of cultural activity and creativity. Dialogue is analyzed as a form and method of organizing of the educational process that is based on the values of content and values of goal which are manifested in the problematic character, perception and mutual understanding at the interpersonal level. It is noted that the joint participation of the subjects of dialogue reveals its humanistic essence and gives multicolor, emotionality, spirituality to the relationship, gives the joy of their discovery of each other. Emphasis is placed on the psychological and pedagogical essence of discussion (a kind of dialogue that takes place in a mode of competent equality and involves the clash of the participants’ opinions in the course of strictly regulated negotiation of the problem) as the most cognitively effective form of dialogue.

Exploring the collective process of classroom dialogue using sequential pattern mining technique

Classroom dialogue is a widely used method for teaching and teacher's skills in managing dialogue matters closely to the productiveness of lessons. This study explores the sequential patterns of classroom dialogue and reveals how contributions are built collectively. There were commonalities in the dialogic sequences of the three subjects although they maintained their own characteristics. Talk concerning previously learnt knowledge and analysis tended to be initiations or follow-ups of other kinds of dialogue in the three subjects. Prominent long sequences in science lessons revealed high levels of cognition, which tended to start from elaboration, then triggered comparison and a summary of content, and finally gave rise to discussion about how to apply knowledge to solve novel problems.

Logos’ Centrality and Expression in Martyria as a Superior Form of Dialogue

This paper describes some motivations and outlines some limits regarding the possibility and necessity of interreligious, interconfessional, and interideological dialogue, in an attempt to improve our understanding of Orthodox Christianity’s role in these important aspects of domestic and foreign politics. This study aims to resolve the divergent opinions that exist in the Orthodox Church regarding the possibility of remaining in this kind of dialogue. The ancient philosophical mode of dialogue and the modern one are analyzed: dialogue as debate and negotiation. The study begins from the analysis of some technical terms describing the social and spiritual dimensions of dialogue; from the perspective of these spiritual and social dimensions, the possibilities, the potential positive results, and the risks of remaining in dialogue with someone of another confession, belief, or ideology are analyzed. It reveals the evolution of the dialogue’s content, its enrichment with the spiritual dimensions of martyria and exomologesis, and the efficient centrality of the Logos in it, as suggested by the etymological definition of dialogue. It also emphasizes the necessity of a deep understanding of all these spiritual dimensions of dialogue for achieving efficient and fruitful communication with representatives of other social or religious groups. This communication can be seen as a guarantee of peace and social stability.

Truth and Method in Southern Criminology

What does it mean to “do” southern criminology? What does this entail and what demands should it place on us as criminologists ethically and methodologically? This article addresses such questions through a form dialogue between the Global North and the Global South. At the center of this dialogue is a set of questions about ethical conduct in the pursuit of knowledge and understanding in human relations. These develop into a conversation that engages South Asian scholars working at the forefront of critical social science, history and theory with a foundational text of European hermeneuticist theory and practice, Hans-Georg Gadamer’s Truth and Method, published in 1960. Out of this exercise in communication across culture, histories and knowledge practices emerges a new kind of dialogue and a new way of thinking about ethical practice in criminology. To give such abstractions a concrete reference point, the article illustrates their possibilities and tensions through a case study of penal reform and the question of whether so-called “failed” Northern penal methods—like the prison—should be exported to the Global South. The article thus works dialogically back and forth through these scholars’ accounts of ethical conduct, research practice, the weight of history, and the work of theory with a very concrete and common criminological context in sight. The result is what might be understood as a norm of ethical engagement and an epistemology of dialogue.

City Literature in Abdu al-Aziz al-Makkali’s Poetry

World literature teems with the portrayal of famous cities throughout the world. This kind of literature is unanimously known as city literature. It does not merely describe and portray places, objects, and landscapes for their own sake, it, however, gives readers a revisionist perspective to look afresh and introspectively into self, history, and culture. This paper aims to shed light on a city that witnessed great changes throughout its history. It is called Sana’a, the capital of Yemen, and it is one of such world-famous and ancient cities about which interesting and rich literature has been written. Sana’a has been immortalized in the prose and poetry of local and international prolific and intelligent writers such as Abdu al-Aziz al-Makkali, a famous contemporary Yemeni poet. Sana’a is magnificently portrayed in different exotic images in al-Makkali’s collection of poetry entitled Book of Sana’a. The poet engages in a kind of dialogue with the city in a personal experience and unique particularity, but in the process, this particularity becomes cosmopolitan. Each poem is located in a particular space which gives the poet and reader alike a sense of the place, history, and culture, and an intense feeling of wider identification and empathy. Sana’a is anthropomorphically portrayed as a beautiful woman, sad woman, beloved lady, spirit, and city of heaven. It is fantastically depicted as a unique piece of artifact molded and designed by the hands of God. So, this piece of research attempts to analyze social and political imports and the different images of the city employed by al-Makkali in his poetic work: Book of Sana’a. As a theoretical framework, the paper adopts both historical theory of criticism as well as the formalist theory, so the analysis is focused on both context and text of the selected poems.

THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

Теоретико-методологічні аспекти використання діалогу з метою організації продуктивної взаємодії суб’єктів освітнього процесу

The article in the historical and philosophical, psychological and pedagogical aspects considers the current problem of improving pedagogical education - the use of dialogue in the implementation of effective interaction of the subjects of the educational process. It is emphasized that the modern pedagogical system is faced with objective processes of democratization in society, with the requirements of cultural development in terms of the scientific and technological progress, and is characterized by changing disciplinary and compulsory regulatory dominant of education to the dominant of cultural activity and creativity. Dialogue is analyzed as a form and method of organizing of the educational process that is based on the values of content and values of goal which are manifested in the problematic character, perception and mutual understanding at the interpersonal level. It is noted that the joint participation of the subjects of dialogue reveals its humanistic essence and gives multicolor, emotionality, spirituality to the relationship, gives the joy of their discovery of each other. Emphasis is placed on the psychological and pedagogical essence of discussion (a kind of dialogue that takes place in a mode of competent equality and involves the clash of the participants’ opinions in the course of strictly regulated negotiation of the problem) as the most cognitively effective form of dialogue.

Self-quotation as Reinterpretation of the Past in the Russian Rock Band DDT

This article discusses the use of lyrical, musical and visual self-quotations in the works of DDT, one of the most important Russian rock bands. After the collapse of USSR, the legacy of Soviet rock movement has been the object of a nostalgic approach both by its protagonists as individuals and by the society as a whole. Supported by different methodological approaches (Genette, Yurchak, Boym, Chion, Veselovsky), the author examines how Yury Shevchuk, DDT’s leader, uses self-quotations as an artistic tool to re-interpret the past, his own past and at the same time the past of the country. Self-quotations can also act as a kind of dialogue between the author and the society, helping to stress the mainly intertextual character of popular music and position it in the cultural field between the individual and the social.

The Language of Incognito in Late Seventeenth-Century Diplomacy

Incognito was, by the end of the seventeenth century, a well-established and widely used practice in the European courts. In addition to its various convenience and financial uses, incognito could also have specifically diplomatic uses, acting as a unique and highly useful tool in negotiations, and it is this particular aspect of incognito this article aims to explore. Firstly, I will point out that, by suspending the standard rules governing social interactions, diplomatic incognito was first and foremost a way to free language and discourses from ceremonial restraints, which could very well be the sole and simple aim. The use of incognito did more however than simply facilitate diplomatic communications: it initiated, aside from the words spoken by the negotiators, another kind of dialogue, made of gestures and symbols, which I will endeavour to study. The last part of this article will be dedicated to the way this unique language made available using incognito could be used by early modern European states and their representatives to alter the balance of power and to level the diplomatic field in their favour.