Master Work Research Articles

APROPRIASI METAFORA FILM IKLAN MANDIRI SECURITAS

<p align="center"><strong>Abstrak</strong></p><p> Film Iklan Mandiri Securitas merupakan film iklan mengunakan strategi retorika komunikasi visual empu keris sebagai pendekatan kreatifnya. Tema sebagai ide dasar penciptaaan film iklan Mandiri Securitas berusaha memahamkan tentang usaha kerja keras untuk menghasilkan detil dari kerja empu untuk menghasilkan bilah keris, dikreasikan dengan retorika metaforis untuk merepresentasikan citra Mandiri Securitas dalam melayani konsumennya mampu bekerja dengan baik atau tidak dengan melihat masing-masing peran dari domain retorika perkerisan dan retorika perbankan dikeduanya. Tujuan penelitian ini adalah untuk mengetahui secara kritis retorika metaforis dua domain itu dengan melihat masing-masing peran dari elemen-elemen pembentuk film iklan Mandiri Securitas. Metode penelitian ini mengggunakan deskriptif kualitatif dekontruksi dengan teknik “apropriasi minus one” melalui pembongkaran domain perbankan dan domain perkerisan untuk melihat posisi retorika metaforis filmis iklan Mandiri Securitas . Film iklan memuat elemen-elemen penyusunnya seperti visual, audio, efek “animated<em>”</em> serta “<em>voice over”</em> yang mendukung terbentuknya metafora iklan. Melalui apropriasi “<em>minus one</em>” dapat ditemukan posisi retorika visual domain “perkerisan” mampu membawakan pesan dari produk yang diinginkan oleh Mandiri Securitas , tetapi jika “<em>animated text</em>” dan “<em>voice over”</em> dihilangkan, maka tidak nampak hubungan retoris di keduanya. </p><p> </p><p>Kata Kunci: retorika, metafora, film iklan, perbankan, perkerisan</p><p> </p><pre><strong>Abstract</strong></pre><pre><strong> </strong></pre><p><br /> <em>Mandiri Securitas Advertising Film is an advertising film using the rhetoric strategy of visual communication of the kris masters as a creative approach. The theme as a basic idea for the creation of the Mandiri Securitas advertisement film seeks to understand the effort of working hard to produce details from the master's work to produce a keris blade, created with metaphorical rhetoric to represent the image of Mandiri Securitas in serving its customers whether they can work well or not by looking at each the role of the political rhetoric domain and banking rhetoric in both.</em><em> </em><em>The purpose of this study was to critically identify the two domain metaphorical rhetoric by looking at each role of the constituent elements of the Mandiri Securitas advertising film. This research method uses descriptive qualitative deconstruction by </em>"appropriation minus one"<em> technique through the dismantling of the banking domain and the domain of perkerisan to see the position of the filmmatic metaphorical rhetoric of the Mandiri Securitas advertisement. Advertising films contain constituent elements such as visual, audio, animated effects and voice over that support the formation of advertising metaphors. Through appropriation </em>"minus one"<em> can be found the position of visual rhetoric of the keris domain is able to deliver messages from products desired by Mandiri Securitas , but if "</em>animated text<em>" and "</em>voice over"<em> are removed, there is no rhetorical relationship in both.</em></p><p> </p><pre><em>Keyword: rhetoric, metaphora, advertising film, banking,</em> kris</pre>

ХУДОЖНІ ОСОБЛИВОСТІ ПРИКРАС В УКРАЇНІ ПОЧАТКУ ХХІ СТ. КОНЦЕПЦІЇ ФОРМОТВОРЕННЯ

The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.

Historiografía de la locura y de la psiquiatría en Colombia. De los médicos escritores a la perspectiva crítica, 1968-2018

Esta revisión tiene como objetivo comprender la historiografía de la locura, la psiquiatría y sus instituciones en Colombia. Inicia con las referencias de la producción tradicional de “médicos escritores”, durante la primera mitad del siglo XX, hasta abordar la perspectiva crítica de estudios contemporáneos, que incluye monografías pioneras, trabajos de maestría y tesis doctorales recientes. Aborda también los aportes de las redes y revistas científicas que contribuyen a la producción académica y circulación de este campo de la Historia, considerando de modo particular el caso de Medellín. La metodología de rastreo documental tiene en cuenta las delimitaciones espaciales, temporales y conceptuales de los textos, así como los tipos de fuentes empleadas. La revisión comparte perspectivas y tendencias con la historiografía de la psiquiatría en Europa y España y es similar al orden de las líneas configuradas en México, Argentina y Brasil. El balance permite agrupar la producción historiográfica en cuatro líneas de investigación de amplia trayectoria en Colombia: 1) Etnopsiquiatría y cultura psi, 2) Biopolítica, higiene y medicalización, 3) Historia social, y 4) Historia de la salud.

4. Back on Campus

4. Back on Campus Bill Broyles (bio) Following his stint in the army, at age 37 Ronald Ives returned to college, this time at Indiana University in Bloomington, seeking his doctorate degree in geography. He entered graduate school in geography on October 11, 1946, and acquired his MA degree on October 15, 1947, and a PhD on June 12, 1950.187 He came to campus in July 1946 as a research associate and instructor. His work finished, he left by August 1950. He chose Indiana so he could study geography, not geology as you might expect. Apparently he had decided that he loved the wider range of geography as a discipline. He could incorporate his love of meteorology and history with his experience in geology. He was seeing things on a landscape scale. He went to Indiana, he said, because "I got offered a teaching fellowship there. I was in the Army and it turned out to be fraudulent. I didn't know it until I arrived that Indiana was using the GI Bill.188 I got the money, but instead of being a teaching university, they were feeding on the GI Bill."189 But he stuck with it. The Geography Department at Indiana University was launched in the summer of 1946. In fact its classes began three weeks late and its temporary quarters were in the attic of Rawles Hall after previously having been taught within the geology department. Too, many war veterans were returning to school, creating a bulge in enrollment. It is unclear if Ronald himself was taking advantage of the GI Bill to help finance his studies, but obviously he had hoped for more from his fellowship. Over his entire life he seldom had financial help from anyone, whether his father, a scholarship, or grants. "I got a couple of grants from the American Philosophical Society back in the 1930s to work on glaciation in Colorado. It was quite a small grant, $300 or something, but it was a help." Even on his now-classic paper "The Pinacate Region, Sonora, Mexico,"190 which involved considerable expense and time, he relied on [End Page 292] his own pocket. "I contacted the National Academy of Sciences about that. We went back and forth and they told me that unless I could prove something in advance, they weren't interested. I didn't work that way."191 Ives had his sights set on the doctorate degree, but as was common in those days, he earned a master's degree along the way. His master's work in geology at Colorado would not have prepared him fully for geography, so he needed to take those first-year courses that brought him to the master's. We wonder if the wise counsel of NDRA professors at Dugway helped encourage him to get the piece of diploma paper that would place him alongside his peers. We hear echoes of his sister saying that even in high school he found himself lagging behind employees who had a diploma, so he returned to school. One of his trusted advisors was Dr. Thomas F. Barton, who joined the school in 1947 and managed the Journal of Geography from 1950 to 1965. Regularly Indiana University still bestows the Thomas F. Barton Award to exemplary students. Ives was a teaching assistant in economic geography and physical geography, two required undergraduate classes. In addition to teaching, Ives helped establish a U.S. Airway Weather Station at the university. His doctoral committee included geographers Stephen Visher192 and Otis Starkey.193 It was said that one of the professors in botany got talking about tundra and Ives had walked over most of the tundra in the Rocky Mountains, and he knew so much about it that he could answer questions this botany professor had been wanting answered that it almost became a monologue.194 Barton readily remembered Ives and talked about him 30 years after he graduated. In addition to doing his teaching and his dissertation, he was still busy writing articles. Ronald would come to the office after his evening meal and work until one or two o'clock in the morning, depending on how interested he was...

The Fusion of Human Images with Nature in the Work of Vladimir Dimitrov - The Master

In the work of the Bulgarian artist Vladimir Dimitrov - The Master we observe a virtuoso expression of the connection of human life with nature. The artist has achieved a visual fusion of human images with the nature. Students' attention is drawn to this aspect of the Master's work. Students' work on the topic is presented. Keywords: Vladimir Dimitrov - The Master, Human Images and Nature

Race Wars

Race Wars Matthew Pratt Guterl (bio) Kathleen Belew. Bring the War Home: The White Power Movement and Paramilitary America. Cambridge: Harvard University Press, 2018. x + 339pp. Notes, sources, acknowledgements, and index. $29.95. In the 1996 film The Substitute, a platoon of soldiers, set adrift after a brief military intervention in Cuba, find themselves in Miami with nothing to do. A polyglot, racially and linguistically diverse group, they are led by Shale, an enigmatic white officer with a gift for clandestine wetwork, who promises to find them some more mercenary possibilities. The men are bored, hungry, and anxious to be paid. Fortunately, Shale finds them another war, this time in a local high school where gangs have taken root. As luck would have it, Shale has a girlfriend, a teacher in a dystopian institution corrupted by the drug trade. Jane, as she is called, is a two-dimensional stickler for history and a fervent believer in every child's potential. After running afoul of a gang leader recruiting in the school, she gets roughed up, her body's brutalization serving as a reminder of liberalism's failure in the stereotyped urban ghetto. And Shale, sensing the urgent need for a more muscular response, volunteers as her substitute and gears up to dispense a twisted approximation of justice. Bringing his special set of skills into the classroom, he lectures students by day on the history of Vietnam while surveilling, disciplining, and murdering the element he defines as criminal at night. Shale's approach works in the classroom, though in the end his action-starved platoon is enlisted to fight in what becomes an all-out war and the body count rises higher and higher until the school itself is engulfed in flames. There was nothing special about The Substitute. In its own inimitable way, it set out to pillory a familiar liberal savior narrative in which do-gooder types wander into a context marked as broken and impossible to fix yet manage to save some small number of those at the far margins of civil society. The movie offered no solution to the problem of poor, inner-city schools, the decades-long decline of public support and collapse of civic faith in common education. No solution, that is, except for the provision of violence as a searing, cauterizing force, as a way to stop the advance of the disease. It left intact one of the dominant tropes of American filmmaking: that the military was an [End Page 452] almost completely integrated institution, and that the racially mixed platoon was an avatar for the United States of the future. And by doing so, it enlisted the whole of the nation in the war on drugs. Finally, it also reminded viewers—as other films, like First Blood (1982), had—that combat veterans left the theatre of war permanently changed, with dramatic consequences for their eventual return to the home front. In this case, as the film closed and the credits rolled, Shale and one of his surviving comrades from that mixed-up platoon announce their intention to sign up to be substitute teachers elsewhere, an obvious plea for a sequel but just as obviously a reflection of what happens when the war comes home. An unoriginal film from an age of action movie knock-offs, The Substitute is nevertheless necessary and emblematic, a touchstone of a generation's thinking about race and violence and war. And Kathleen Belew's masterful work, Bring the War Home, cuts straight across it. Where The Substitute imagines veterans as alienated from a soft, liberal domestic world, Belew sees these same returning soldiers rapidly synergized with a broader, homegrown "paramilitary culture" that increasingly valorizes gun ownership, that grows to loathe the state, and that determinedly prepares for an eventual race war. Where the film underscored the racial diversity of the platoon, Belew uncovers a network of white racist actors, their affiliations shaped partly by military service, partly by their disenchantment with American liberalism, and partly by fever dreams of creating a paramilitary structure outside of state control, attempting to will into being a different white supremacist fantasy of the future. And where Shale, returning to the states in...

Мелиоре. Эволюция образа Богоматери в Тоскане второй половины XIII века на примере творчества одного мастера

Мелиоре. Эволюция образа Богоматери в Тоскане второй половины XIII века на примере творчества одного мастера

The Formation Of Multiplication In Uzbekistan (In The Problem Of The Interaction Of Audio And Video Series)

Animation is a unique form of cinema, having its own specific means of expression, forms and genres. This art form has an amazing history of development. It is interesting to understand the specifics of multiplication through the analysis of the interaction of audio and video sequences. Having traced the history of the development of animation in the Soviet Union and partly in the United States, we stopped at the analysis of the works of the Uzbek master of cartoon art. Our goal is to identify the relationship issues of audio and video series

Degas: A Passion for Perfection ed. by Jane Munro

Reviewed by: Degas: A Passion for Perfection ed. by Jane Munro James P. Gilroy Munro, Jane, ed. Degas: A Passion for Perfection. Yale UP, 2017. ISBN 978-0-300-22823-6. Pp. 272. This catalogue of an exhibit recently held at the Denver Art Museum and the Fitzwilliam Museum in Cambridge (UK) includes eleven essays, five by editor Jane Munro and six by other scholars. Although the exhibit encompasses all of the forms of Degas's œuvre, including his paintings, there is a special focus on his sculptures, drawings, monotypes, and pastels. Several essays are very revealing in the ways they bring to light previously lesser-known aspects of his artistic personality and working habits. As the title of the exposition indicates, Degas was a perfectionist who not only did countless preliminary studies for his finished works but also frequently recast what might have been considered the final product. Among the insights that these essays provide is the amount of time and effort Degas devoted to copying the works of old masters in painting and sculpture in the Louvre and other museums. Although Degas produced the greatest number of these studies during the early years of his career, he continued this practice late into his life. Of course, what he sought and derived from [End Page 237] the earlier works were echoes and resonances of his own creative inspiration. It is also noteworthy that Degas never produced a bronze sculpture during his lifetime. His sculptures were made of beeswax, plaster, and other malleable materials, and, in keeping with his usual practice, he continually remodeled them until he achieved the image he sought to capture. Moreover, except for The Little Dancer, which was exhibited at the Impressionist Salon of 1881, Degas never displayed his many sculptures to the public. Only friends whom he invited to his studios in Montmartre got to see them. It was only after his death in 1917, when his works were sold at auction and several of his sculptures were cast in bronze, that the general public became cognizant of this whole phase of his artistic output. Often his sculptures were preliminary studies for paintings and pastels. They were part of his effort to bestow a three-dimensional quality to a two-dimensional surface. The subjects of his statues embraced a similar range as his pastels and included ballet dancers in performance or at rehearsal, nude women bathing often in awkward postures (works that have provoked criticism from feminist critics), and racehorses. Jill De Vonyar contributes an interesting essay about Degas's fascination with Greek sculpture and how it influenced his depiction of female dancers in motion. He was particularly taken with small terra cotta statuettes of the Late Classical period that had recently been excavated at the site of Tanagra in Boetia. He even acquired some for his own extensive collection of works by other artists. Several of the essays demonstrate Degas's wish to be at the forefront of the latest technical innovations in graphic art. One such technique that is well illustrated in the exhibit is his development of the monotype, or greasy ink drawing. This art form added a whole new tactile dimension to engravings. James P. Gilroy University of Denver (CO) Copyright © 2019 American Association of Teachers of Frenchs

Drifting Among Rivers and Lakes: Southern Song Dynasty Poetry and the Problem of Literary History by Michael A. Fuller

Reviewed by: Drifting Among Rivers and Lakes: Southern Song Dynasty Poetry and the Problem of Literary History by Michael A. Fuller Graham Sanders Michael A. Fuller. Drifting Among Rivers and Lakes: Southern Song Dynasty Poetry and the Problem of Literary History. Cambridge, Mass.: Harvard University Asia Center, 2013. Pp. 526. $60 (cloth). ISBN 978-0674073227. The Song dynasty is an era, perhaps more so than any other in Chinese history, in which the discussion amongst the literati of the role of patterned written language (wen 文) in society reached new levels of urgency. How does written language express the mind in relation to the world? How is it received and evaluated by others? How does it relate to the cosmos of which it is a part? In this book, Michael Fuller has drawn a clear and detailed picture of the how these questions (and many more) were being asked and answered during the transition from the Northern to the Southern Song, when the very foundations of knowledge were up for debate. The result is a masterful work of scholarship that simultaneously tackles the practice and theory of poetry in China from the eleventh to thirteenth centuries and the problem of trying to write a literary history of that time. The challenge of writing a history of any kind is the question of how to juxtapose the particular and the general in a way that respects the specificity of the particulars while also rendering an intelligible narrative that seeks to elucidate patterns in the relations among particulars. It is an impossible task—there are degrees of success but never complete success. Fuller's account is highly successful in that he makes the terms, parameters, and assumptions that ground his project crystal clear over the course of a five-hundred-page book that is packed with both historical detail and philosophical insight. The Introduction, "Casting Off: A Theoretical Introduction," concisely lays the philosophical groundwork for the rest of the book. Drawing upon Kant's notion of "aesthetic judgment" as a kind of "reflective judgment" that gives one "an intuition of order about a particular object" (20), Fuller defines "the literary" as "the aesthetic organizing of language" (which would serve as a good definition of the Chinese term wen). As observers of the empirical world—including its instantiations of language—we have a sense of what parts of that world are related to one another according to a larger principle, which is often not directly apparent to us. This admits a rather generous notion of the literary, for the aesthetic judgment lies not solely in the fashioner of literary words, but also (perhaps primarily?) in the one who receives them. This means, according to Fuller, "as long as some linguistic utterance is a work that is (or has been) the object of aesthetic experience, it is part of literary [End Page 309] history" (12). This, of course, leads one to ask, what constitutes "aesthetic experience"? To be of any use in the practice of literary history, the notion of aesthetic experience must be historically grounded. In a deft summary of Adorno's view on the "material particularity" of art, Fuller states: "This materiality returned art to history, but history inhered not only in the techniques through which the work was created but also in the play of categories through which the artwork attained its appearance of unity and its status as art" (26). In other words, aesthetic judgments are always made in history using categories that mean something to particular historical actors in given places and times. These actors will often posit the idea of universal and changeless categories of meaning that they imagine transcend their historical moment. In a tantalizing but brief section on the "cognitive turn" (14–18), Fuller suggests that such enduring categories might have a biological basis in the mind but defers further discussion of the issue as being beyond the scope of his book. The danger of looking back at aesthetic judgments made centuries ago in an entirely different culture is that modern critics make their interpretations based on their own assumed categories of meaning. Fuller readily acknowledges that "we cannot hope to entirely understand the discursive and wider...

Reena NandaFrom Quetta to Delhi: A Partition Story

Nota Bene Ivan Vladislavić Flashback Hotel Archipelago Books South African writer Ivan Vladislavić offers this collection of dreamlike stories that highlights his surrealist writing style and imaginative voice. Flashback Hotel blurs the lines between dream world and reality but does so while relentlessly searching for tangible meaning and teachings within the absurd. Josephine Wilson Extinctions Tin House Books Winner of Australia’s Miles Franklin Literary Award in 2017, Josephine Wilson’s Extinctions intelligently defies expectations and unabashedly asserts itself as a masterful work of novelistic literature. Set distinctly in Australia, Wilson’s unique and intricately established characters come to life on the page, and their imperfections and traumas are portrayed naturally and honestly through her firmly grounded yet imaginative voice. reports devoted to street demonstrations against racism and police brutality. Luz, the somewhat innocent provincial young man who moved to Paris in search of a job, gets his first taste of tear gas and of charges by the CRS riot police. Overall, Luz’s lengthy graphic novel is a consistently amusing, sometimes moving account of the heyday of an irreverently satirical magazine, before it unwillingly became a worldwide icon. Edward Ousselin Western Washington University Huzaifa Pandit Green Is the Colour of Memory Kolkata. Hawakal. 2018. 64 pages. Huzaifa Pandit lives in Kashmir, India, a region under turmoil from two hostile nations that have kept this beautiful land locked in. Never a day goes by without shouts for “Azadi” (freedom) ringing out on the streets of this heaven on earth. Battles break out constantly between Indian security forces and gun-wielding “terrorists” or stone-pelting schoolgirls. Naturally, like any poet living in a contested land, Pandit’s poems also reflect this anguish. Pandit’s poetic journey, therefore, sends him in two directions, one toward a direct confrontation with the security forces like “Death in February,” where he writes, “Obituaries / that seek asylum from winter drought / in lost samovars of salted tea / at funerals to thirsty mourners.” Another way is to write of exiled poets like the Kashmiri English poet Agha Shahid Ali and spell it out: “I know I want to write a poem, but the futility of it / I can’t read, you can’t read.” “What does one do when plastic rainbows / pellet your lamenting lungs? / What does one do when amputated houses / grate against wilted coffins?” The bodies/coffins are really a nation torn asunder. These two distinctions set Pandit apart from the native and extranative Kashmiri poets, but, beneath the veneer of sorrow, he has a disguised sense of humor when he doesn’t talk about Kashmir at all in a poem entitled “Bedside Tales from Kashmir.” This is rare because his main concern is the Indian military and the besieged city of Srinagar where he teaches. In “Testimony in February,” he asks of the poet Ahmed Faraz, “We forgot your name / Won’t you silence our conversations?” For a poet living in a city under suppression by the Indian state, “Green is the colour of memory specked / with shades of yellow grey.” Pandit is emphatic that “The parchment of my heart / is empty, quite empty.” Ravi Shanker N Palakkad, India Reena Nanda From Quetta to Delhi: A Partition Story New Delhi. Bloomsbury India. 2018. 170 pages. The ethnic cleansing and mass migration of Hindus and Sikhs from the provinces that became Pakistan in 1947 form an important current of twentieth-century history. The events played a key role in shaping modern India. Many novels and stories have been published over the years that depict the atrocities, terror, and violence of Partition, on one hand, and the trauma of the survivors on the other. Reena Nanda’s new novel is a somewhat different slice-of-life memoir. Memory and family history intersect time WORLDLIT.ORG 107 Books in Review and space, and we are treated to a fascinating panorama of lost places and cultures from the vantage point of the author’s own family history. Centered on the character of Shakunt, the author’s mother (Nanda was born in 1945 in Quetta), the family saga traverses the years from before Shakunt’s birth—starting with the arrival of Shakunt’s grandparents as settlers in Balochistan—to the...

GAZİPAŞA ARI SERENLERİ

Rural architecture, which we can describe as “master work” by the masters who have grown up with experience and knowledge transferred from generation to generation, has emerged with local materials and traditions. In rural architecture, based on climate, geography, geological structure, soil, water, local materials, life culture and economy, functionality has been more important when compared with the aesthetin concerns. “Beehives”, named also as “bee house”, “bee mansion” popularly, can be found in Elmali, Korkuteli and Kumluca districts of Antalya, Kaynarca Plateau of Hadimbagli Dedemli Village in Konya, Bozkir/Tufanderesi, Sorkun/Bespinar and Korualan/Yenice. Besides these examples, beehives are also found out in the Akoluk and Camlica quarters at the anamur border of Gazipasa District. In this study, Gazipasa beehives are classified and evaluated by considering their locations and distibution in the region. Consequently, architectural form, construction technique, rural use, local properties and comparison with regional examples are discussed in the paper.

Quality of Work Life and Job Performance: Empirical Evidence from Station Masters Working at Sri Lanka Railways

Quality of work life in an organization is a critical factor for deciding employee related outcomes in modern organizations. The main aim of this study is to investigate the relationship between the dimensions of the quality of work life and job performance dimensions through a survey method using a questionnaire administered to a sample of 280 Station Masters who are employed at Sri Lanka Railways. The construct ‘quality of work life’ was measured by using eight dimensions based on Walton’s model developed in 1975. A three component model including task performance, citizenship performance and counterproductive work dimensions was used for measuring job performance. This study used descriptive statistics, correlation and regression analyses to examine the relationship between the two variables. The result indicates that there is a strong, positive and significant relationship between the two variables and are positive and significant associations among the measurement dimensions of the variables. Further, the quality of work life has a substantial influence on job performance. The paper has of importance as it contributes to the existing body of knowledge originally and the contributions have been specified.

In search of «great simplicity»: abstract art and children’s creativity

The work of the masters of modernism — V. Kandinsky and P. Klee are analyzed. It is shown that in their creative search their own childhood memories and impressions, as well as children›s drawing, were of great importance. The perception of the world by a child has the qualities of syncretism, when the personal and transpersonal (timeless, archetypical) are combined into a single picture of the world that artists of the turn of the century sought to acquire. It was revealed that the appeal to the expressiveness of the children›s drawing of artists-reformers took place due to the “psychological stress” of the heightened perception of the world — a special revival of the unconscious, striving for the One, and a strong orientation to the Ego.Comparison of works of masters of the first half of the twentieth century with the works of modern children allowed to identify common features of the artistic process of the creative personality of a professional artist with the universal work of a child, free from the pressure of the cultural canon of time, which consist in the introduction of timeless archetypes of the universe and being. The typological tables show the connection of the works of V. Kandinsky and P. Klee of various degrees of abstraction with the works of children of different ages. It is revealed that the more abstract the composition of the master, the less the age of the young author in the analogy of the children›s drawing.

Cold drawn pearlitic steel wires for wind turbines structures: In the wake of Miguel de Cervantes and Johann Sebastian Bach

Wind turbines are key elements in the field of renewable energies. They can be considered as engineering evolutions of old-fashion windmills appearing in the master work by Miguel de Cervantes: Don Quijote de la Mancha. The main subject of this paper is related to fracture behaviour and structural integrity of cold drawn pearlitic steel wires for wind turbine structures and foundations. At the microscopic level, cold drawing generates progressive slenderizing and orientation of the pearlitic colonies (first microstructural level) and increasing orientation and densification of the ferrite/cementite lamellae (second microstructural level), thereby inducing anisotropic fracture behaviour and crack path deflection. In addition, the hierarchical structure of cold drawn pearlitic steel wires in two microstructural levels (colonies and lamellae) allows a consideration of them as hierarchically structured materials (HSM). Furthermore, an analogy is established in the paper between the microstructural arrangement in cold drawn pearlitic steels and the multi-level structure of Johann Sebastian Bach’s music.

Beyond Gatsby: How Fitzgerald, Hemingway, and Writers of the 1920s Shaped American Culture

Beyond Gatsby: How Fitzgerald, Hemingway, and Writers of the 1920s Shaped American Culture

Kepler´s Ellipse Observed from Newton´s Evolute (1687), Horrebow´s Circle (1717), Hamilton´s Pedal Curve (1847), and Two Contrapedal Curves (28.10.2018)

Johannes Kepler discovered the very elegant elliptical path of planets with the Sun in one focus of that ellipse in 1605. Kepler inspired generations of researchers to study properties hidden in those elliptical paths. The visible elliptical paths belong to the Aristotelian World. On the other side there are invisible mathematical objects in the Plato´s Realm that might describe the mechanism behind those elliptical paths. One such curve belonging to the Plato´s Realm discovered Isaac Newton in 1687 - the locus of radii of curvature of that ellipse (the evolute of the ellipse). Are there more curves in the Plato´s Realm that could reveal to us additional information about Kepler´s ellipse? W.R. Hamilton in 1847 discovered the hodograph of the Kepler´s ellipse using the pedal curve with pedal points in both foci (the auxiliary circle of that ellipse). This hodograph depicts the moment of the tangent momentum of orbiting planets. Inspired by the hodograph model we propose newly to use two contrapedal curves of the Kepler´s ellipse with contrapedal points in both the Kepler´s occupied and Ptolemy´s empty foci. Observers travelling along those contrapedal curves might bring new valuable experimental data about the orbital angular velocity of planets and a new version of the Kepler´s area law. Based on these contrapedal curves we have defined the moment of the normal momentum. The first derivation of the moment of the normal momentum reveals the torque of the ellipse. This torque of ellipse should contribute to the precession of the Kepler´s ellipse. In the Library of forgotten works of Old Masters we have re-discovered the Horrebow´s circle (1717) and the Colwell´s anomaly H (1993) that might serve as an intermediate step in the solving of the Kepler´s Equation (KE). Have we found the Arriadne´s Thread leading out of the Labyrinth or are we still lost in the Labyrinth?

ГРАФІЧНЕ МИСТЕЦТВО ЯК ЗАСІБ ФОРМУВАННЯ ЕСТЕТИЧНОГО СПРИЙНЯТТЯ МАЙБУТНІХ УЧИТЕЛІВ ОБРАЗОТВОРЧОГО МИСТЕЦТВА

The article covers the multifaceted aspects of the study of graphic art as means of forming the aesthetic perception of future teachers of fine arts. With the acquaintance and mastery of graphic arts technicians, the students are determined to learn the history of the Ukrainian graphic school, to study the work of outstanding masters of art graphics, to actively engage in the creation of new graphic artistic values. Graphics – the most popular form of fine arts. The term “graphics” has origins from the ancient Greek verb “grafo”, which means “I am writing”, “the chair”. Depending on how the drawing on the image plane is played, the graphics are distributed to the original and printed. The works of the original graphic are easel works (from the word “machine tool” – an easel, on which a sheet of paper is fixed). A characteristic feature of printed graphics is the possibility of replicating it. This is the feature and advantage of the engraving before the products of the original graphics. The future teachers of fine art need to know that deep emotions, the experience of joys, the amount, the aesthetic experiences of beautiful, are sublime achieved in the graphic tone of paper, paint spot, pressure of the lines, their parallel or cross-grid. However, the contrast between black and white may have a very diverse, substantive and stylistic meaning in the graph: white is light, black is darkness in all transitions and gradations. Study of the graphic heritage of famous graphs of Ukraine is a prerequisite for the formation of aesthetic perception of future teachers of fine arts. The landmark on folk traditions in graphic art was put by well-known graphic artists who sought to combine the old traditions of Ukrainian art with the new discoveries of European artistic trends. R. Arnheim, B. Edwards, applied to the method of graphic image sensation, giving students the task of drawing human features or emotional states (anger, joy, peace, energy, etc.) using only the language of the lines: fast lines, slow lines, light, dark , smooth, rough, broken.

Architectural and Artistic features and manufacturing wooden iconostasis of the church of the introduction to the temple of the blessed virgin mary, Emanzhelinsk, Chelyabinsk region

It is known that in the years of the God-fighting, the barbaric attitude towards our past, the priceless frescoes, paintings and all the monumental and decorative furniture of the interiors of churches and monasteries have disappeared. The interiors and iconostases as the main structures inside the temple space were mercilessly destroyed, the age-old traditions of the iconostasis craft were gradually lost. For the revival of these traditions, restoration, reconstruction, design and erection of new iconostasis, skilled craftsmen with specific knowledge in different branches of science are required to work with wood. One of these masters was Yudin Yuri Mikhailovich. By the example of one of such master's works, the manufacture of a wooden iconostasis and its chapels, tombs, the design of the ceiling, analogy for the Temple of the Introduction to the Temple of the Blessed Virgin Mary, Emanzhelinsk, the Chelyabinsk region is considered. Similar works on the study, design, manufacture of wooden iconostases are not enough now, which gives it a character of a particular relevance for the architectural science.

The iconography of saint monks’ ascetics Onufrii, Sumeon Stovpnyk and Savva Osviashchenyi in works of rybotychi masters in 1670–1750 years

The iconography of saint monks’ ascetics Onufrii, Sumeon Stovpnyk and Savva Osviashchenyi in works of rybotychi masters in 1670–1750 years