Language Work Research Articles

Axiological commentary as a method of analytical work on lyrical works in specialized humanities classes

Axiological commentary as a method of analytical work on lyrical works in specialized humanities classes

Сrypotopetics and Forms of Its Manifestation

The article establishes the boundaries of this relatively new area of poetics: the proximity and at the same time the discrepancy of this concept with such as “autobiographical subtext”, “Aesopian language”. Various types of suggestive targeting inherent in cryptographic works are shown: a contemporary who closely knows the details of the author's personal life or a future “providential” reader. Many variants of the “key&8j1; / cipher to the cryptographic text are also analyzed. The specificity of cryptographic texts is considered, as it manifests itself, on the one hand, in epic, and on the other hand, in lyrical works. It is highlighted what cryptographic means the lyrical gender has (meter, rhyme, stanza; acrotext, acrostic, etc.). Particular attention is paid to symbolist poetry, which, like cryptography, has magical, cult roots. The specific material for the analysis was the digital symbolism in one of the early poems by A.A. Blok and his introduction to the collection of poems “The Earth in the Snow”. The relationship of the meanings of the symbol “comet” is shown, which are constituted in the dialogue of two epigraphs of the preface and in the lyrical plot of the cycle “Snow Mask”.

POETIC, LITERARY CHARACTER OF MOLDAKHMET DABILULY’S DIDACTIC WORKS

This article analyzes the poetic features of Moldakhmet Dabyluly’s didactic works, an outstanding personality of traditional poetic poetry. He is a creative person who combined improvising, poetic, zhyrau, storytelling, accompanying his youth in life. The propagandistic nature of the didactically significant poems, instructive thoughts, educational meaning of Moldakhmet Dabyluly preaching ethic morality is differentiated in the article.Literary theoretical analyzes were made on the artistic expressions of the poetwho performed terme, songs and epic works with his own style, lyrical works with an original style, studied and developed from his predecessor’s traditions, and left a rich legacy in the field of art. Poet Moldakhmet's style of performing epic works and his propaganda skill in delivering poems and epics to listeners are described. Among the lyrical poems of the poet Moldakhmet, terme-tolgaus are expressed by didactic expressiveness. The works analyze the ideological, literary and aesthetic assessments of prominent figures of Kazakh history, who sang them in memory and set an example for posterity. Terme-reflectionsare works of a propagandistic nature, glorifying the content of life in Kazakh poetry. Scientific assessments of the problems touched upon by the poet in terme-reflections, moral reflections of generations in dedication verses are carried out. Scientific evaluations are made of the issues contained in the poems of the poet, the morally oriented thoughts of the poet in the dedication poems. Poet’s didactic works are analyzed in connection with traditions and literary problems in literature.

Characteristics of Dilafgor's lyrics

During the years of independence, a number of scientific and practical works have been carried out to study the literary heritage of enlightened artists who lived and worked in the late XIX - early XX centuries. However, it is also true that there are many topics which should be investigated in the literature of this period. One of the urgent scientific tasks is to study the lyrical works in Dilafgor's collection "Gulshani Dilafgor" on the basis of the latest achievements of literary criticism and literary sources and textual studies.

ОБРАЗ ЖІНКИ-БОРЦЯ В ПОЕЗІЇ ОЛЕНИ ТЕЛІГИ

The original vision of the role of women in the struggle for national freedom is presented by the work of Olena Teliha, a Ukrainian diaspora writer. The work of the author is closely related to the Prague school - a community of artists who emigrated to Europe in the first half of the 20th century. The writers of this literary circle in their artistic and journalistic texts nurtured the ideas of nationalism and emphasized the need to form an effective Ukrainian, a man of rank, capable of defending and building an independent state. The lyrical and journalistic works of Olena Teliha also actualize these problems. The author believed that a woman's mission in the struggle for state sovereignty is to become a friend, and moral support for male warriors, and, if necessary, also to take up arms. The writer's artistic work has a feminist sound, but the author's views on the role and place of women in society are not entirely consistent with the ideas of the philosophy of feminism. The article focuses on the analysis of Olena Teliha's poems «To Men», «Answer», «Evening Song», «Evening», «I will not forgive the hand that beat me...», and «Everything awaits: both despair and resentment». The study of these works from the standpoint of feminist criticism proved that their lyrical heroine is a gentle and affectionate woman who is a life-giving force for a man-warrior, and defender of the state. At the same time, she is a morally strong and strong-willed person, capable of taking up arms at critical times and courageously defending her land on par with her husband. The woman in the author's poetry is ready to forgive her chosen one and the world everything, except the humiliation of her human dignity. The harmony of the world in her lyrics is based on the idea of parity in the relationship between men and women. Olena Teliha's lyrical works testify that the author was a national-centric feminist. A woman, in the author's understanding, must remain gentle with her husband, and devoted to him, and when the latter has a mission to protect his state, she must become a friend and ally in the struggle.

Lyrical works of Russian poets in university classes at of the Republic of Tajikistan

Lyrical works of Russian poets in university classes at of the Republic of Tajikistan

The lyrical works of Lydia Khaindrova: motif specificity and artistic genealogy

The lyrical works of Lydia Khaindrova: motif specificity and artistic genealogy

Features of the Analysis of the World-modeling Categories of a Lyric Work: The Position of the Subject

Features of the Analysis of the World-modeling Categories of a Lyric Work: The Position of the Subject

СВЕРХТЕКСТОВОЕ ЕДИНСТВО РОЖДЕСТВЕНСКОГО, ИТАЛЬЯНСКОГО И ЛЮБОВНОГО ПРЕТЕКСТОВ В СТИХОТВОРЕНИИ «Я БЫЛ ТОЛЬКО ТЕМ, ЧЕГО» И. БРОДСКОГО

The study was supported by a grant of the Russian Science Foundation No. 22-28-01671, https://rscf.ru/project/22-28-01671 /; Russian Christian Academy for the Humanities. The work is devoted to the study of Joseph Brodsky's poem «I was only what» (1981), part of the poetry collection «New stanzas to Augusta», compiled directly by the author himself in 1983. The article puts forward a hypothesis about the functioning of J. Brodsky's special unconventional supertext unity with a lyrical meta-plot of initiation and cognition through love, the creative work of a lyrical hero in love. In the course of the analysis the authors consider the main content and poetic features of Brodsky's chosen text as a potential semantic center of the selected supertextual unity, actualize the connections of the poetic markers highlighted at different levels of the text, establish correlations with other lyrical works of the poet that are part of a potential supertextual unity. It has been shown that in addressing his leading theme of human realization and the formation of the individual's creative potentials, Brodsky steadily synthesizes the three leading «private» texts of his own extensive metatext: Christmas, topos (in this case Italian), and love texts. The poem «I was only what» is considered as the semantic center of the designated supertext unity, embodying in a concentrated form all the main signs of the unity and integrity of the cycle. lyrical plot and the system of characters, imagery, motif and thematic structure, chronotopic originality, intertextual levels and allusive layers. The analysis demonstrates that the perspective of singling out and modeling the supertextual unity is extremely fruitful, allowing us to reconstruct the logic of the writer's artistic mindset and recreate the image of his mythopoetic world picture. Thus, in Brodsky’s poem «I was only what» the interference of the pretextual layers, «large» and «small», saturates the connotative components of the subtext and focuses the central motive line of the plot – the creation, that gives the lyrical hero the ability to gain sight, hearing, voice, that is, to speak, and potentially to create, in particular, to be a poet.

“MORPHOLOGICAL CONCENTRATION” AND “MORPHOLOGICAL DOMINANT” OF DEGREES OF COMPARISON AS THE BASIS OF EXPRESSIVENESS IN THE LANGUAGE OF POETRY

The present article deals with the phenomenon of the formation and functioning of the morphological dominant of degrees of comparison in poetry. It is noted that the language of poetry has several means to actualize the grammatical meanings and linguistic potential of certain language units. “Morphological selection” and “morphological condensation” of morphologically identical language units are some of these means, which contribute to the formation of the “morphological dominant” of a poetic work or its fragment. The conducted analysis of the peculiarities of the poetic realization of the forms of degrees of comparison allows us to identify some general patterns of the morphological dominants functioning in the poetic text and to trace the level of participation of the system of degrees of comparison of the adjective in the formation of the expressiveness of this morphological category, which forms the dominant of the degrees of comparison within the lyric text. Based on the analysis of some theoretical sources and poetic material, it is indicated that the basic form of the adjective has a wide range of expressive and expressive properties, which is associated with the realization of the aesthetic function of the analyzed part of the speech. Such lexical units and their forms in degrees of comparison can perform the function of expressive centers and actively interact with other linguistic levels within the language and artistic structure of the poetic text. The article claims that the formation of the “morphological dominant” is based on the active processes of the author’s “selection” of morphologically identical units and the “concentration” of such units within a specific poetic text. The conducted analysis of poetic fragments shows that the morphological dominant can be an essential and integral part of the compositional structure of the lyrical work and allows to convey the poetical meanings, to form the expressive centers of a lyrical text that attract a reader’s attention and to be a means of poetic expressiveness. It is noted that the “morphological dominant” can be one of the features of a poet’s creative heritage or its certain period.

СТИХОТВОРЕНИЕ ЭЛЕЙКИНА ИЗ КОМЕДИИ Е.П. РОСТОПЧИНОЙ «ВОЗВРАТ ЧАЦКОГО В МОСКВУ <…>» КАК ПАРОДИЯ НА СЛАВЯНОФИЛЬСКУЮ ПОЭЗИЮ

In the comedy “The Return of Chatsky to Moscow <...>” by E.P. Rostopchina is a Slavophile character with the speaking surname Eleikin (elei - church oil), the prototype of which is A.S. Khomyakov. Eleikin’s words “I must cry all the abominations of Russia!!!...” are an allusion to Khomyakov’s famous poem “To Russia” (1854), which the author of the comedy took with indignation immediately after its appearance. There is a poem, which is attributed to Eleikin in the comedy, which is a satire on Slavophil doctrine and contains a number of parodic echoes with the lyric works of Khomyakov, as well as an allusion to his early tragedy “Dimitri the Pretender”. The edge of satire, in which the views of the Slavophiles are caricatured and partially distorted, is directed both against the Pan-Slavist ideas and against the idealization of the patriarchal order and values of old Russia. The appearance of the poem was apparently connected with the intensification of the activities of the Slavophiles manifested in the establishment of the journal “Russkaya Beseda”.

Psychodidactic foundations of the formation of adolescents' ability to understand lyric poetry

Problem and purpose. In the study of lyric works, there are tremendous opportunities to influence adolescents' personal formation, the development of their cognitive abilities, the enrichment of the value-semantic sphere. However, the insignificant progress of schoolchildren in understanding the lyrics during adolescence is noted, which is often a consequence of the dominance of didacticism in literature lessons. The research purpose is to determine the psychodidactic conditions for the development of adolescents' ability to understand lyric poetry. Methods. Theoretical and empirical methods were used in the study: operationalization of a theoretical construct, expert evaluation method, experimental research, qualitative analysis of written responses, statistical data processing (descriptive statistics, Kruskal-Wallis H test, Wilcoxon signed-rank test, Mann-Whitney U test). The total sample consisted of 311 students in grades 6-8 from four state general education schools in Moscow. Results. A system of psychodidactic principles and methods of developing adolescents' ability to understand lyric works has been created. The system is formed by the principles of open individuality, integrity, polylogueness, multidimensionality, value hierarchy. These principles are operationalized by highlighting the techniques for their practical implementation and are used as the basis for organizing the process of studying lyrics, as well as creating a psychodidactic textbook. The effectiveness of using the developed system for solving the problem was revealed: after training, the experimental group showed a statistically significantly higher level of understanding of poems, both in comparison with the results of the control group (p <0.01) and in comparison with their own results of initial diagnostics (p <0.001). Discussion and conclusion. In the course of the study, it was determined that psychodidactic conditions necessary for the formation of adolescents' ability to understand lyric poetry are, firstly, the organization of the process of studying lyrics based on the principles of open individuality, integrity, polylogueness, multidimensionality, value hierarchy; secondly, the inclusion of a psychodidactic textbook in the subject-subject interaction of the teacher and students, which determines the strategy and tactics of the activities modeled in it in the lessons of studying lyrics. The implementation of the specified conditions allows building the educational process taking into account the principles of adolescents' mental development, contributes to a significant interaction of a student with himself, the teacher, other students, the studied works.

Przekładanie poezji lingwistycznej: Rendicción Mario Martína Gijóna w tłumaczeniach na polski, angielski i francuski

Translating Linguistic Poetry: Mario Martín Gijón’s Rendicción in Polish, English, and French The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter of very distinct properties. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. English offered such a possibility much less frequently; Polish – only once. Therefore, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.

ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM

Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.

Pieśń ku niebiosom. Echa chopinowskie w twórczości Artura Oppmana

This article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far-reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work.

Artistic peculiarities of the philosophical works of S. S. Vasilyev-Borogonsky

The goal of this research lies in the description of artistic uniqueness of the philosophical lyrics of S. S. Vasilyev. The author reviews the problem of the poetic language of Vasilyev’s philosophical poems from the perspective of determination of the role and function of poetic images, as well as the techniques of rhetorical patterns, stylistics and syntax as method of expressing the original philosophical views. Examination of the philosophical lyrics of S. S. Vasilyev required an overview of the context of philosophical poetry of the Yakut classics – A. E. Kulakovsky, A. I. Sofronov – the forerunners of S. S. Vasilyev.  It is worth noting that the poet scrupulously adhered to the experience and traditions of his forerunners. The lyrical works of S. S. Vasilyev were oriented towards the poetics of philosophical works of the first poets. The scientific novelty lies in the fact that the poetics of the philosophical lyrics of S. S. Vasilyev is examined on the basis of literary studies for the first time. The author determines the main ideological content of the poet's philosophical lyrics: he enhanced the semantic meaning of poetic images borrowed from the folk lyrics. The designated by the poet symbolic images are comprehensible and effective means of artistic reproduction of the philosophical concepts. The rhetorical references, questions that are specific to the philosophical lyrics overall, served as the main techniques of developing the theme of the philosophical works of S. S. Vasilyev, described his personal reflections, as well as the author’s idea of the lyrical works.

On the adequacy of translation of the lyrics by Fazu Aliyeva into the Russian language

The subject of this research is the adequacy of translation of Avar poetry into the Russian language on the example of the poem “If They Will Draw My Portrait” by the National Poet of Dagestan Fazu Gamzatovna Aliyeva. The object of this research is the lyrical works of Fazu Aliyeva and other Dagestan poets. Using the method of comparative analysis, the authors draw parallel between the Avar and Russian versions of F. Aliyeva’s poem, which has been translated by the Russian poet-translator Vladimir Turkin. The goal of this article lies in the comparative study of the lyrical poem by the Avar poet and its literary translation into the Russian language. The question of the literary translations of poetic texts from the native languages into the Russian language remains relevant at all times. The degree of accuracy and adequacy of the translation of modern or classic Dagestan poetic texts into the Russian language is yet to be fully researched. The novelty of this work consists in comprehensive analysis of the adequacy of translation of the lyrical texts of the Avar poet Fazu Aliyeva into the Russian language. The adequate professional translation into the Russian language is invaluable for the development of literature of the Caucasian peoples (and all national literatures of the peoples that are part of the Russian Federation). This helps them reach a wider readership. Juxtaposition of the original poetic text and its translation into the Russian language proves that Vladimir Turkin has achieved full adequacy of conveying the Avar text, despite the discrepancy in translating spatial details, which not in the slightest distorts the stylistic and emotional-expressive peculiarities inherent to the poem by the Dagestan poet Fazu Aliyeva.

“The Tale of Igor's Campaign” in N. Gumilyov's lyrics of the later period

This research is dedicated to spatiotemporal aspect of “The Tale of Igor’s Campaign” in N. Gumilyov’s lyrics of later period. Based on the lyrical works written over the period from 1913 to 1921, the author contemplates on the role of the Old Russian epic for the poet’s ideology. A hypothesis advanced that the text of the tale is one of the most constructive in worldview of the poet. The article employs the comparative-historical and structural-semiotic methods (juxtaposition of semantics facts that go back to the text  of the “Tale of Igor’s Campaign” and contained in N. Gumilyov's poetry) for establishing correspondence or semantic changes of words in the original text. The method of parallel text search is applied. Textual analysis of the fragments of N. Gumilyov's works and “The Tale of Igor’s Campaign” is conducted. The article is first to determine and substantiate the interrelation between N. Gumilyov’s poem “War” (1914) and text of the “Tale of Igor’s Campaign”. Detailed analysis is given to the image of the “sowing” and “reaping” Russian warriors. In his later works, Gumilyov associates the “Tale of Igor’s Campaign” with the highest ethical values, history of Russian and world culture, which underlines the historicism of Gumilyov’s thinking. The article reveals the “horse”, “warrior”, “quiver”, “saber” contained in the text of the tale reflect the true life of N. Gumilyov.

Основные аспекты методико-исполнительского анализа вокального цикла Бориса Чайковского «Лирика Пушкина»

The article provides interpretative methodological analysis of Boris Tchaikovsky’s vocal cycle “Pushkin’s Lyrics”, reveals the basic aspects of structural, tonal harmonic and compositional analysis of musical works. Performance difficulties include, besides vocal difficulties, the problems of intoning B. Tchaikovsky’s melodic language correlating with A. S. Pushkin’s poetical language. The research objectives are as follows: to conduct a comprehensive analysis of B. Tchaikovsky’s vocal cycle, to identify the basic difficulties modern vocalist comes across when studying these works, to suggest ways to solve them. Scientific originality of the paper lies in the fact that Boris Tchaikovsky’s vocal cycle was not previously subjected to musicological analysis. As a result, it is proved that in the analyzed cycle vocal difficulties are closely associated with its poetical component. Author’s artistic tasks are realized by transferring philosophical content of Pushkin’s poetry. When performing this vocal cycle, professional vocalist should be competent in solving a range of vocal artistic tasks: adequate representation of dramatic collisions, high-level vocal tonal skills (especially when it comes to lyrical works), a large-scale breath, refine implementation of chromatic melodic tunes, adequate transfer of composer style.

Enjambement in the Mounted Lyrical Poetry: the Untranslatable Translated?

The article is aimed at studying some features of translation strategies used to convey the expressive potential of a poetic text with elements of mounting techniques, viewed through the prism of the rhythmic-syntactic level of organisation of the poetic text. The subject of analysis is enjambement, or verse (poetic) transference, which is a “dissonance” between the rhythmic division of poetic speech into poetic lines and the syntactic division of verbal material into syntagmas in verse, thereby affecting the rhythmic structure of the text. The poem by H.M. Enzensberger (born in 1929), “verteidigung der wölfe gegen die lämmer”, as well as the translation of the specified poem into Russian (“Protection of wolves from sheep”) made by Lev Ginzburg (1921-1980), are used as the factual material. The original poem is written in free rhythms and includes elements of mounting techniques. To achieve this goal, a complex methodology has been applied, which, in addition to structural-descriptive and comparative analyses, also involves elements of linguopoetic and linguo-stylistic approaches. The relevance of the presented work is primarily due to the translation perspective of the study, which required the involvement of the main provisions of the theory of dynamic equivalence by E. Nida, secondly, – to the fact that translation strategies are considered in terms of intercultural interaction, i.e. taking into account the culturally specific characteristics of the bearers of the source and target languages. Based on the results of the analysis, a conclusion has been made about the special role of verse transferences in the mounted lyrical poetry of H.M. Enzensberger, which are engaged in the creation of the “defamiliarisation” effect at the appropriate micro-level of the lyrical work. A comparative analysis of the texts in the source language and the target language indicates that the application of the main provisions of the theory of dynamic equivalence, as well as the relevant linguistic aspects of intercultural communication when translating poetic works, contributes to a most accurate preservation of the aesthetic effect and of the expressive potential inherent in the original poetic text with elements of mounting techniques.