Master Work Research Articles

THE EFFICIENCY OF THE COMPETENCE-ORIENTED TEACHING METHOD AT THE CLINICAL DEPARTMENTS OF I. HORBACHEVSKY TERNOPIL NATIONAL MEDICAL UNIVERSITY

SUMMARY. Among researchers, there is no established view on the structure of professional competence of future specialists in general and future doctors in particular, regarding the types of competences that should be laid as its basis. This situation served as the basis for conducting an analysis of the effectiveness of various communicative educational methods for improving professional training of master's students at the university's clinical departments.
 The aim – to analyze the effectiveness of various teaching methods for the formation of professional competence of future doctors in key and subject competencies in emergency medical care.
 Results. Communicative competence is a dynamic combination of knowledge and practical skills, ways of thinking, professional, worldview, social qualities, moral and ethical values, which determines the ability of a person (student) to successfully carry out professional and further educational activities and is the result of learning at a certain level of education. The formation of the communicative competence of master's students is achieved thanks to the effective interaction of the teacher and the student (communication, exchange of knowledge, practice of abilities and skills), professional and personal qualities of the teacher, which are manifested through analytical perceptive, motivational-communicative, professionally-oriented and tactical-psychological communicative skills in solving professional tasks and individual properties of the subject of professional and pedagogical activity, necessary and sufficient for mastering communicative skills at the normatively determined level. To form the professional competence of future doctors in key and subject competencies in emergency medical care, the teachers of the clinical departments use a complex of interactive teaching methods based on the principles of a participatory-interactive approach. Such teaching methods include the method of educational discussion, game teaching methods, dialogue method, method of individual and group projects, as well as independent work of master's students.
 Conclusions. In order to achieve high communicative and professional competence of the future master's doctor in the specialty of emergency medical care, the teachers of the clinical departments of the university use such participatory and interactive teaching methods as the educational discussion method, game teaching methods, the dialogue method, the method of individual and group projects, as well as the method of independent works of master's students. The effectiveness of using each educational method depended on the individual characteristics of the personality of the teacher and the student, their basic level of training and motivation.

It’s not funny! – On Wes Anderson’s comedy and genre hybridizations

Wes Anderson is, arguably, the greatest heir to the traditional American comic genre in its different manifestations. Starting with the profound influence of the masters of comedy of the silent era, Buster Keaton and Charles Chaplin, Andersonian comedy also lines up with the works of masters of classical American Comedy such as Frank Capra, George Cuckor, Ernst Lubitsch, Billy Wilder or Preston Sturges, up to the existentialist tone of some of Woody Allen’s comedies. The present contribution analyses, from the perspective of the History of Cinema, the way in which Andersonian comedy draws on this long tradition, crystalizing in the coalescence of up to five comic subtypes: deadpan humour, slapstick, screwball comedy, verbal humour and parody. The latter is of particular significance, since it is the key to the hybridization of cinematic genres that is one of the traits of Anderson’s playful and postmodern approach as a postmodern auteur. Thus, the second part of the article will explore the genre hybridizations through which the Texan filmmaker resignifies the usual meaning of traditional genre conventions, often for the purpose of achieving a very particular comic effect.

Spoon River America: Edgar Lee Masters and the Myth of the American Small Town by Jason Stacy

Reviewed by: Spoon River America: Edgar Lee Masters and the Myth of the American Small Town by Jason Stacy Gregory Brown Jason Stacy, Spoon River America: Edgar Lee Masters and the Myth of the American Small Town. Urbana: University of Illinois Press, 2021. 234 pp. $27.95 (paper). In Spoon River America: Edgar Lee Masters and the Myth of the American Small Town, Jason Stacy states that he has "treated Spoon River Anthology like a historical subject" but cautions the reader that the work's "significance lies not only in its history but also in its enduring life as a book that people read" (173). Stacy's analysis of the text is sensitive to the literary aspects of Masters's work, and it is thus useful and engaging to literary critics and historians alike. Stacy begins by tracing two distinct origin myths of the American small town: the New England version and the midwestern one. The myth of the New England small town has roots that reach back before the American Revolution and defines itself as moral, industrious, and cooperative. The midwestern small town, on the other hand, is steeped in the frontier mythos popularized by Frederick Jackson Turner and emphasizes rugged individualism. These rival mythologies "both featured an established small municipality," but "the New England village served as a founding enterprise [of the nation] and thereby preserved original values" while the "Midwestern town was the result of a mythical frontier experience" (33). Both contrasted with urban centers such as New York City, which were portrayed as "dens of hypocrisy and vice" (11). Masters's family history intersected with both myths due to Illinois's patterns of settlement. On both sides of his family tree, Masters's ancestors moved into Illinois to distance themselves from slavery; however, Masters's branch of the family shifted their political sympathies to the South after the Civil War due to increases in federal power and taxation. Stacy notes that Hardin Masters, Edgar Lee's father, "sought to enlist on the side of the North" at the age of sixteen, but by the end of the conflict he [End Page 206] supported the South, and Edgar Lee was named after the famous southern general (38). Hardin Masters was haunted by his reputation as a southern sympathizer; rumors that he had been a Copperhead cost him prestige and business. This opprobrium, Stacy demonstrates, is the seed of the character of the exile, a major trope of Spoon River. In the central chapters of Spoon River America, Stacy synthesizes the familial and cultural currents that surround the creation of Edgar Lee Master's Anthology. As Masters was turning his attention away from practicing law and fully toward a literary career, he moved to Chicago, which had become an important cultural and literary center. There, Masters became acquainted with the "'Little Room,' an informal club of artists, social reformers, and philanthropists" (61). Among the members of the Little Room was Harriet Monroe, the future editor of Poetry; nevertheless, Masters was uncomfortable among this society and faulted them for what he perceived as "haughty exclusiveness" (61). Instead, cultivating an outsider status he would uphold for the rest of his life, Masters preferred the society of the more libertine "Press Club." Through close readings of several poems, Stacy identifies character types such as the moralistic fraud, the libertine, and the exile. The character of the exile fits well with Masters's conception of himself as both a Midwesterner and a populist in post-Civil War America. This character type was also key to the popular success of Spoon River Anthology. The necessity for the exile type was clear to Masters's contemporaries: Stacy quotes a review of Masters's subsequent book, Songs and Satires (1916), wherein T. S. Eliot notes that Masters requires a "personage … detached from himself in order to give his particular meditative irony its opportunity" (113). The detached, meditative tone of Spoon River Anthology, together with its popular if imitable style, allowed readers to take from the work what they wanted. Through the concluding chapters, Stacy demonstrates how the myths that led to Spoon River Anthology continued through the twentieth century. Disneyland commercialized the small town, and...

Chinese and French traditions in Chen Qigang's Piano Concerto

The subject of the research is the concerto for piano and orchestra "Erhuang" by the contemporary Chinese-French composer Chen Qigang (1951). The work, written in the mature period of the master's work, clearly demonstrates an artistically convincing synthesis of national and European musical traditions. Chinese influences are associated primarily with the reliance on the characteristic features of the Peking Opera jingju, French influences are due to the influence of the Impressionist style of Claude Debussy and the principles of musical writing by Olivier Messiaen, whose student was Chen Qigang. The main purpose of the study is to characterize the original features of the Erhuang concerto, due to the combination of influences from the Peking Opera and French music of the 20th century. The concert "Erhuang", one of the most repertoire works in the composer's heritage and a representative example of his style, is considered for the first time in Russian musicology. The main conclusions of the study: the national traditions of the Peking Opera are presented in the concert "Erhuang" on the modal modes (pentatonic scale of zhi), metro-rhythmic (patterns of luo gu dian zi), forma (traditional variations of banqiang ti) and timbre (imitation of the instruments of the Peking Opera ensemble and their tuning system) levels; French influences manifest themselves in a colorful harmonic palette (the influence of Debussy's musical language), as well as in the reception of Messiaen's technique (the theory of additional duration, the method of irregular increase and decrease in rhythm, the principle of motivic combinatorics, the sequential change of modes of limited transposition).

THE LATEST WOOD PLASTIC

The article provides a concise synthesis of the work of individual Ukrainian masters of artistic woodworking. Individual visual and plastic properties of individual artists' creativity, their key artistic achievements and the specificity of the synthesis

Helmholtz and the geometry of color space: gestation and development of Helmholtz’s line element

Modern color science finds its birth in the middle of the nineteenth century. Among the chief architects of the new color theory, the name of the polymath Hermann von Helmholtz stands out. A keen experimenter and profound expert of the latest developments of the fields of physiological optics, psychophysics, and geometry, he exploited his transdisciplinary knowledge to define the first non-Euclidean line element in color space, i.e., a three-dimensional mathematical model used to describe color differences in terms of color distances. Considered as the first step toward a metrically significant model of color space, his work inaugurated researches on higher color metrics, which describes how distance in the color space translates into perceptual difference. This paper focuses on the development of Helmholtz’s mathematical derivation of the line element. Starting from the first experimental evidence which opened the door to his reflections about the geometry of color space, it will be highlighted the pivotal role played by the studies conducted by his assistants in Berlin, which provided precious material for the elaboration of the final model proposed by Helmholtz in three papers published between 1891 and 1892. Although fallen into oblivion for about three decades, Helmholtz’s masterful work was rediscovered by Schrödinger and, since the 1920s, it has provided the basis for all subsequent studies on the geometry of color spaces up to the present time.

The works of artists of the Palekh lacquer miniature craft in the field of design of theatrical productions of the 1930s - 1970s (Palekh and Theater)

The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.

Contribution of Chevreul to lipid chemistry

Michel Eugène Chevreul entered at 17 the laboratory of Vauquelin, at the Museum. He began his investigations on animal fats in 1811. They appear as yet the most complete and the best executed experiments found in all chemistry. For the first time, he combined fractional solution, crystallization, distillation, melting point determination, and ultimate analysis. All started with the isolation of an acid and solid substance, “margaric acid”, the first of a long list of fatty acids isolated from various fats. Studying saponification, he determined that “anhydrous glycerine” was combining with water. After studying human gallstones, he discovered “cholesterine” (cholesterol). From whale spermaceti, he described “cetin” (mainly cetyl palmitate), containing no glycerol. He isolated from sheep fat a new acid he named “stearic acid”. This component was proposed in a joint patent by Chevreul and Gay-Lussac (1825) for the fabrication of very efficient candles. He discovered several volatile fatty acids in cow and goat butter (from C4 to C10). His master work (Recherches chimiques sur les corps gras d’origine animale, 1823b) contains his experimental procedures and his theoretical conclusions on the nature of fats, it may be considered as the first treatise on lipochemistry.

УВЕЛИЧЕНИЕ КУЛЬТУРНОГО КАПИТАЛА ЧЕРЕЗ АКТ ДЕМОНСТРАТИВНОГО ПОТРЕБЛЕНИЯ ПРОИЗВЕДЕНИЙ ИСКУССТВА

The postmodern reinterpretation of values led to the blurring of boundaries between social groups and the diffusion between mass and elitist art. As a result, there was a need to form a new cultural threshold, which was fulfilled by symbolic capital. For a long time, contemporary art could not compete in prices with the works of old masters. However, since the early 2000s, there has been a trend of a rapid increase in prices for contemporary art. This article attempts to analyze this phenomenon, where a work of contemporary art is viewed as a "source" of symbolic capital, and the act of purchase is considered a form of conspicuous consumption, i.e., it is done not for the purpose of enrichment, but for the acquisition of authority and social status. The article proposes the assumption that in the current socio-cultural situation, an increase in symbolic capital can be achieved through the consumption of art. In the space of the modern art market, the artistic value of a work of art and, therefore, the volume of symbolic capital, are inversely proportional to its "accessibility", and the category of artistic value can be substituted with the economic category of price. In addition, the role of the art market in shaping new forms of art is traced. Contemporary artists, like their colleagues in the 1960s, continue to resist the art market. If this protest is fundamentally valuable, it leads to the emergence of new conceptual art practices, such as performance, land art, happening, etc.

ФОРМИРОВАНИЕ СОБСТВЕННОГО СТИЛЯ В ТВОРЧЕСТВЕ ХУДОЖНИКОВ ГОРОДА ЧУГУЕВА

The article is devoted to the study of the life and work of representatives of the art school of painting in Chuguev. Due to the huge losses of their heritage, it still remains a blank spot in the history of national culture. The uniqueness of the masters of the brush of a small military settlement, which was Chuguev in the 19th century, consists in the fact that they came from a soldier and peasant environment. Mastering various technical techniques of painting, they worked in different genres. This allowed the Chuguev artists to create works of a secular and spiritual nature, including icons and frescoes. New names of Chuguev painters are introduced into scientific circulation, the characteristic of the works of Chuguev masters that have reached our time is given, and the peculiarities of their creativity are highlighted. The myth of the influence of Western European art on the work of the Chuguev masters is debunked. The Chuguev Art School is part of the Russian art school. Its significance lies in the fact that in the conditions of military settlements, examples of high art were created, understandable and close to every resident. The works created by local artists contributed to the creation of a special spiritual atmosphere in the Chuguev military district, the development of a common mentality and spiritual unification of the swedens – people of different nationalities and faiths.

Tapestry Art in Buryatia: Experience and Perspectives

The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.

Краски на основе фталоцианиновых пигментов в произведениях советских художников

The problem of falsifications of works of late Soviet art is becoming increasingly urgent and acute for both private collectors and the museum community. One of the reliable and effective methods of detecting falsifications is technological examination, which aims to determine the time of creation of an artwork. The purpose of the present work is to estimate the possibility of using a group of phthalocyanine pigments as a dating pigment for the works of Soviet masters painted in the period from 1950 to 1980. A technological study of more than 150 dated paintings of the mentioned period from various museum and private collections allowed us to identify only 11 works where pigments from the phthalocyanine group were used. Comparison of the research results and archival data on the formulations of paints based on phthalocyanine compounds produced at Leningrad Factory of Artistic Paints allowed us to identify cases when artists used foreign-made paints.

СИМВОЛИЗМ И ЖИВОПИСЬ С. А. ЖУКА

This article is devoted to the work of the artist S.A. Zhuk, which is considered from the point of view of his artistic stylistic features and his worldview dominants. For this purpose, an art-historical analysis and comparative analysis of some of his pictorial works are carried out, considered from the standpoint of the artistic "language" of forms, as well as from the side of the "canonical" philosophical meanings established in the art of symbolism. During the analysis and upon its completion, conclusions are formulated that the stylistics of the artist's painting, to a greater extent, tends to symbolism rather than realism, as the author himself believes. In general, the article positions the thesis that S.A. Zhuk has his own author's style, that the bright, original work of a mature master is an interesting phenomenon, the significance of which, in the context of the artistic life of the country and in the process of training young artists, is undeniable.

А.П. БОГОЛЮБОВ И И.К. АЙВАЗОВСКИЙ: ПРОБЛЕМА ТВОРЧЕСКИХ И ЛИЧНЫХ ВЗАИМООТНОШЕНИЙ

T. Bogolyubov, one of the realist artists in the middle– second half of the 19th century, began his career as a romantic and a painter, who worked in line with academic traditions. Ayvazovsky’s work (along with the works of such masters as S. Shchedrin, K. Krugovikhin, A. Dorogov and M. Vorobyov) had a strong influence on the formation of the young artist in the second half of the 1840s – the first half of the 1850s. Subsequently, however, the enthusiastic attitude of Bogolyubov towards Ayvazovsky was replaced by sharp rejection of the famous artist both creatively and personally. The main reason for that was, above all, a change in creative views of Bogolyubov. Upon having matured in his creative work he continued traditions of the French painter-realists of the Barbizon school and the German artist of Düsseldorf school A. Akhenbakh. In many respects Bogolyubov’s assessment of Ayvazovsky’s artistic work has not lost its relevance now. It reflected the transition in Russian art of the 19th century from the romantic and academic traditions to realism.

Comprehending Tarkovsky: the philosophy of creativity of Carlos Reigadas

The subject of the article was to identify some similarities between the creative concepts of two filmmakers: our great compatriot Andrey Tarkovsky and contemporary director Carlos Reygadas. Their comparison, as well as the culturological analysis of Reygadas’ films, allows us to conclude that there is a conceptual closeness that largely determines the philosophy of the work of both masters, based not on the principle of recreating reality, but on the desire to create their own artistic word.

А.В. АМФИТЕАТРОВ КАК ИНТЕРПРЕТАТОР ИСКУССТВА СКУЛЬПТУРЫ (ИНТЕРМЕДИАЛЬНЫЙ АСПЕКТ)

The relevance of the topic is due to the need to study intermediality as an expression of the tendency to create an integral polyartistic space in the cultural system. The object of the article is intermediality in Russian and Italian culture at the beginning of the 20th century; the subject of the article is intermedial trends in Russian and Italian sculpture, as well as in art criticism of the specified period. The study is of a culturalogical nature; it uses comparative historical and biographical methods. The material of the study is texts (essays and letters) of the 1900s–1910s by famous Russian novelist, publicist, public figure A.V. Amfiteatrov (1862–1938), which are connected with the interpretation of sculpture as a type of fine art and with the assessment of the work of contemporary Russian and Italian masters. The writer pays the greatest attention to the work of sculptor S.D. Erzia (1876–1959). Talking about the personality and work of the artist, Amfiteatrov demonstrates awareness and interest in the problems of the art of sculpture, the features of its development in the general context of the cultural continuum of the 1900s–1910s. The writer verifies the artistic value of sculptural works by their connection with music, he uses in relation to them the terminology of literature and theater studies as well as musical associations. Intermediality appears in his work, on the one hand, to be a property of the works of art, he writes about; on the other hand, as the principle of their analysis and evaluation.

Pieter Quast’s drawings in the collection of the State Hermitage Museum

The article analyses five drawings by the Dutch painter Pieter Quast (circa 1606– 1647) from the collection of the State Hermitage Museum. The sheets shown are unpublished. They are executed in the artist’s characteristic technique: in black chalk on vellum; some sheets are signed and dated. They come from three different collections, four of the drawings came into the museum in the 18th century and one is a late acquisition and was purchased in 1972. The little-known master’s diverse body of work is represented in museum collections and private collections mainly by graphic material, including numerous drawings. The artist’s passion for drawing seems to have also been caused by his poor financial situation. Although Quast’s biography is known in fragments, published archival materials reveal the artist’s complex creative path. A study of his works from the national collection confirms their authorship and gives grounds for speculation about the reading of the subjects. The themes chosen by the master are inextricably linked with the pictorial tradition: the work of the 16th century masters, in particular Pieter Bruegel the Elder, and Quast’s contemporaries Adriaen Braouwer, Adriaen van Ostade and others. The artist relied heavily on theatrical representations, both biblical and humorous folk sketches, as an important source of inspiration. This research paper analyses the master’s drawings both in terms of iconography and using the formal and stylistic method, using comparative analysis and putting the works in line with the artist’s other famous works.

«Шотландские колористы» в искусстве европейского модернизма: проблемы контекста и стиля

The article explores a complex and insufficiently studied phenomenon in the visual art of Scotland – Scottish colorism, and, accordingly, the work of masters of its circle. Colorism does not limit its appeal to various kinds of artistic trends, which creates the problem of determining both the stylistic commonality and the artistic background in the formation of the creative manner of Scottish colorists; another difficulty is to determine the contextual boundaries of this phenomenon. This article, therefore, is devoted to resolving these issues in order to outline the place and role of Scottish colorists in European pictorial practices.

Capitalism and Distributive Justice: Musings of a Mormon Economist

Capitalism and Distributive Justice: Musings of a Mormon Economist

Knowledge, Attitude and Practice of Adverse Drug Reactions (ADRS) Reporting in Nursing Staffs of Tertiary Care Hospital

Background Adverse Drug Reactions (ADRs) are adverse consequences of drug therapy and are a major cause of morbidity and mortality. Approximately 2.9-5.6% of all hospital admissions are due to ADRs and up to 35% of hospitalized patients experience ADRs during their hospital stay. Therefore, the study assesses nurses’ knowledge, attitudes and practices (KAP) for monitoring and reporting spontaneous adverse drug reactions (ADRs). Methods In this observational study, 155 professional nurses with Proficiency Certificate Level (PCL), Bachelor Nurses and Masters working in various hospitals and academic institutes in Janakpur Municipality were selected to complete 19 pre-validated questionnaires on knowledge, attitudes and practice of ADR monitoring and reporting’ response. The data were converted by a predetermined scoring method and subjected to statistical analysis. Results Most participants from PCL Nursing (52.25%), participants from Bachelor Nursing (35.48%) and the fewest participants from Master Nursing (12.25%) were between 26 and 35 years old. Regarding ADRs knowledge, the majority of the Master Nurses (86.18%) answered the question correctly. ADR that reported regularly, most certificate nurses disagreed (33.3%) and more certificate nurses were neutral (38.2%) and some certificate nurses were agreed (28.3%). Most master nurses (63.1%) had patients with ADRs, but bachelor nurses (52.7%) and certificate nurses (64.2%) had not experienced any patients with ADRs in the past year. Master nurses (78.9%) were aware of the response to ADRs reporting and monitoring, but most certificate nurses (83.9%) and bachelor nurses (65.5%) were unaware of the ADRs reporting and monitoring response. Conclusion We conclude that KAP of ADRs in nurses is not sufficient especially in certificate and bachelor nurses. But master level nurses responded well. This is due to their knowledge, attitude and practices on ADRs reporting and monitoring.