Modern Style Research Articles

The Relevance of Modern Islamic Boarding Schools with Ulama Cadre According to Imam Zarkasyi (1910-1985)

Imam Zarkasyi was a figure who gave birth to the modern pesantren and ulama cadre in Indonesia. This review is based on literature research with a historical approach. The sources of information depart from the biography and the concept of thought, the methods and information instrumentation from books, papers, posts, magazines, websites, and other types of documentation. The information was analyzed using management systems that can draw information from documentation. Relevant data sourced from works on the topic were analyzed descriptively. The research results are 1) based on "Pondok Modern Synthesis," 2) aiming to produce students who are ready for society, 3) changing the traditional integrity system to the classical boarding school system, 4) presenting educational methods with direction, training, assignments, habituation, guards, role model, and approaches, 5) integrating curriculum with religious material, general material, and language proficiency, 6) forming a waqf body to minimize disputes over ownership and decision making, 7) instilling the psychological value, the Motto of the boarding school, and the philosophy of life, and 8) changing the pattern in appearance from shabby to a modern dress style. This study indicates that modern pesantren as an educational institution has been well-managed and provides great impacts on students or santri as cadres of scholars who are educated to become the next ulama's successors.

Blød modernisme

A significant body of mid-century design has remained relatively unstudied and underrepresented in museum collections due to its figurative and emotional decorations. These designs clashed with the reigning conception of modern style as rational, honest, streamlined and masculine, yet also represent a clearly modern approach to decoration, designed to complement the modern home. A range of mainly Scandinavian designs and designers are discussed in the article. Long neglected for their alleged aesthetic audacity, these works offer insight into the hunger for soothing emotional objects in the post-war era and may best be decoded as “cute” objects provoking ambivalent responses.

VIDEO PROFIL SEBAGAI SARANA PROMOSI MEMAJUKAN WISATA ALAM KALIBIRU DAN PENINGKATAN EKONOMI MASYARAKAT

Kali Biru is a natural tourism in an incised hilly area with the background of the Sermo Reservoir. In Kali Biru, tourists will have an interesting experience and be able to take pictures in instagramable photo spots, for example bicycle spots, hang gliding spots, flying fox, and high ropes. For reaching Kali Biru, people can use a tourist jeep via Sermo and Clereng Reservoir routes. However, tourism rebranding efforts on social media are still lacking. Although various attempts have been made. The purpose of designing this media is to create and design a company profile that can provide data, information and products offered by Padukuhan Kali Biru in an effective, clear and attractive manner. In addition, it can increase the brand image and hopefully in turn it can attract the target market, namely new tourists, both local and foreign tourists, to the Kali Biru Nature Tourism offered. Data collection was carried out through documentation in the photos and videos in the field, which was also supported by data from the internet. This product is an interactive video with a modern design style concept, consisting of some menu pages based on the content requirements.

A new methodology to estimate flat foot in skeletal remains - the example of Mediterranean collections.

Flat feet (pes planus) are considered a postural defect caused by the collapse of the longitudinal arch, producing complete or near-complete contact of the sole of the foot with the ground. Pes planus has been well-studied in clinical literature and paleoanthropology but has not been approached extensively in bioarchaeology. The main difficulty is related to the diagnosis of this pathology based exclusively on bone remains. In this work, we propose a metric and morphological method to discriminate flat foot in dry bones. Thus, we studied 390 pairs of adult feet in a fair state of preservation from archaeological contexts from Spain, Italy, and Oman. Morphological variability, angles, and dimensions of both the normal bones and the bones displaying flat foot characteristics were analyzed. We found a correlation between the presence of flat foot and some morphological and metric features, mainly in the subtalar and Chopart joints. These results are expressed through a combination of morphological and metric variables, which are useful to discriminate between these two groups. No markedly significant differences of flat foot frequencies between the Spanish and Italian series were found across centuries. However, we noticed a notable increase of the prevalence of flat foot in the contemporary collection, possibly due to the consequences of a rise in life expectancy and modern styles of footwear.

„Raumkunst” autorstwa Teodora Axentowicza

Raumkunst by Teodor Axentowicz
 Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.

Review on the Display Design of Historical Museums

Historical museum is very important for patriotic education and social development. In order to improve the quality of the people, realize their thoughts and the development of the future of society, museums and memorial halls with historical themes are playing their role. When they visit, people can feel the patriotic and revolutionary spirit in the long history and gain strength. The exhibition design of the museum will add icing on the cake, explore innovative design, get rid of the old tradition, make people have a stronger sense of substitution, and give full play to the spirit of learning. Our group tried to combine the modern style with the traditional historical memorial hall, so that the memorial hall can play its role of patriotism education, promote social development, improve the quality and ideological consciousness of the people, so that people can feel the patriotism and revolutionary spirit in the long history when browsing and visiting.

Scientific and Methodological Support for Teachers in the Context of Gamification in Mathematics Study in the Russian System of Additional Education

The relevance of this study is due to the practical significance of the issues of using game mechanisms in the process of teaching mathematics, the lack of research into the issues of symbiosis of game and didactic technologies in mastering complex mathematical knowledge, the need to search for effective technologies to establish how they affect the development of students and the formation of a modern style of thinking. The analysis of global trends and practices of introducing elements of gamification into the education system has shown that the mastering of complex knowledge and patterns of mathematical activity, the solution of problem areas of mathematics at different levels of learning and complexity is carried out by a complex of mathematical and information methods without the integration of game elements. It has been substantiated that gaming technologies in combination with the informatization of mathematical activity give a powerful motivational charge to the study of mathematics, actualize the processes of self-organization of cognitive activity, and contribute to the development of a probabilistic style of thinking. The purpose of the study is to provide a theoretical substantiation and effective methodological support for the process of professional development of mathematics teachers in the context of gamification in mathematics study with the effect of developing a probabilistic style of thinking. The authors have developed an arrangement mechanism and determined the content of scientific and methodological support for teachers working in the constituent entities of the Russian Federation to provide additional educational services in the context of gamification in education. The developed materials, in particular, include evaluative case tests for identifying competence deficiencies in teachers, which ensure the formation of a probabilistic style of thinking based on gamification processes by managing the information saturation of the motivational field of learning. In addition, the authors proposed an additional professional education program for teachers, Mathematics in Gaming Activities (Business, Didactic and Intellectual Games) , and developed new forms of certification and assessment materials (gamification-based didactic solutions and effective practices). Using the concept of gamification, it was possible to demonstrate the activation of cognitive and motivational structures, in particular, the effective development of a probabilistic style of thinking in the process of mastering complex mathematical knowledge through its adaptation to school mathematics. The results of the study allow making it possible to bring the process of teaching students and developing their personalities to a modern qualitative level using current achievements in the field of digitalized education.

Modern ornament in fin de siècle Paris: Antonin Raguenet’s Matériaux et documents d’architecture et de sculpture

This article examines the work of Antonin Raguenet (1839–1920), who directed from his studio in Paris between 1872 and 1914 a vast project of architectural taxonomy, the Matériaux et documents d’architecture et de sculpture. Though unique in its vast geographic scope and empiricist approach, Raguenet’s project remains relatively obscure in the current scholarship of art and architectural history. Published monthly in eight-page pamphlets totaling over five hundred serialised issues, the Matériaux et documents ultimately contained over fourteen thousand illustrations of ornaments collected from buildings, plazas, monuments, and cemeteries across the European continent.Raguenet’s ornamental gaze moves seamlessly from Haussmann-era apartment buildings, to universal expositions in Paris and abroad, to the façades of Lavirotte, Schoellkopf, and Guimard, reflecting the production and reproduction of ornament literature during the period of the Belle Époque. The collecting and cataloguing of architecture elements into categories – windows, cartouche, doors, capitals, balconies, etc. – is aided by the maturation of print media, the passenger railroad industry, and the rise of photographic reproduction in the late nineteenth century. This reading of the Matériaux et documents will introduce its context, contents, and methodology, as well as the role of ornament in imagining and observing the emergence of a new ‘modern style’ at the end of the nineteenth century.

سیکولوجـیة الشخصــیة فــی المونــودراما المسرحـــیة للأطفــــال (نصوص الکاتب علی خلیفة أنموذجًا)

الملخص : هذه الدراسة في سيکولوجية الشخصية في المونودراما المسرحية للأطفال، وقامت على انتقاء نماذج من مسرحيات کاتب الأطفال (علي خليفة)، وقد توجه بها إلى الأطفال. وتناولت هذه الدراسة نماذج منتقاة من مسرحياته، وهذه المسرحيات هي على النحو الآتي: متحف السندباد – سندريلا حائرا– العفريت الظريف – الأراجوز وحيدا– بلياتشو ع المعاش وجاءت أهداف الدراسة موضحة مدى أهمية مسرح المونودراما کنمط مسرحي حديث، وقد أجابت عن سؤال: هل مسرح المونودراما متناغم مع روح العصر؟ .وقد قامت الباحثة بتوضيح بعض ما يقدمه مسرح المونودراما من أهداف وقيم تربوية. وقد توصلت الدراسة إلى أن مسرح المونودراما متوافق ومتناغم مع روح العصر، وأنه من الممکن أن نطبق منهج التحليل النفسي للأدب على المسرحيات المونودرامية، وفى النهاية توصلت الباحثة إلى أن مسرحيات (علي خليفة) [النصوص المنتقاة] ينطبق عليها قواعد المسرح المونودرامي من الناحية الفنية، وأن نصوصه ترکز على الشخصية أکثر من الترکيز على الحدث، وأن شخوصه وأبطاله يتسمون بقدر کبير من الإيجابية، وتحمل المسؤولية . الکلمات المفتاحية : السيکولوجية- الشخصية المسرحية – المونودراما – الأفکار العقلانية – النرجسية – التحليل النفسى – الکاتب على خليفة . Abstract This study is in the psychology of personality in children's theatrical monodrama and has based on the selection of models from the plays of the children's writer (Ali Khalifa). It has been directed to children. This study has dealt with selected models of his plays, and these plays are as following: The Sinbad Museum - Cinderella Confused - The Wry Sprite - The Argus Wahid – Bliachu (Joker) on the Annuity, using the psychoanalytical approach of literature on monodrama theater figures (Ali Khalifa's texts as a model) to achieve the study objectives that lie in clarifying the importance of the monodrama theater as a modern theatrical style, and also clarifying some of goals and educational values ​​that the monodrama presents. Finally the research has reached results and recommendations written down in the conclusion, including that: the plays of Ali Khalifa (the chosen texts) apply the rules of the monodrama theater technically, and his texts focus on personality rather than the event. Also his characters and heroes are very positive, and take responsibility Keywords: psychological – Monodrama –Theatrical Personality – Rational thoughts – Narcissism – Psycho analysis – Writer Ali Khalifa.

A Study on Modern Pansori Narrative and Composition in Joseon Pop Music

최근 판소리는 대중적 인기를 얻고 사람들이 즐길 수 있는 한국(조선) 고유의 흥겨운 감성을 가진 음악으로 표현된다. 본 연구는 판소리의 대중음악성을 부각하며 등장한 서도밴드(sEODo밴드)의 ‘조선팝’ 음악을 분석하여 판소리 대중화와 창작판소리의 생산과정의 의미와 서사성의 맥락을 논의하였다. 판소리 대중화는 다양한 방식으로 시도된 판소리의 변화를 지칭하며 근래 시도된 대부분의 판소리 창작 현상을 포괄하는 명칭으로서 창의성과 다양성을 실험하는 이 시대 소리꾼들의 예술정신을 포용하려는 의미를 담아 왔다. 시도와 모험을 격려하는 열린 개념에서 점차 규준의 필요성이 대두되고 있으며, 판소리의 대중화는 음악적 요소와 외적 양식에 무게를 두기보다 창작판소리의 완성도를 높일 수 있는 역량을 갖춘 소리꾼이 서사성의 현대화와 동시대적 더늠의 확보라는 책임감 있는 재맥락화를 달성할 때 가능하다. 서도밴드의 조선팝이 갖는 차별성은 춘향가 한바탕을 노래하고 판소리의 더늠과 동일한 음악을 생산하여 자신만의 스타일을 만들어가는 것에 있다. 현대적 서사와 더늠의 노랫말은 과거의 언어적 수사를 따르지 않는다. 대중음악의 자유가사 형식을 많이 취했지만, 대중가요가 비유법, 강조법, 변화법 등의 수사법을 폭넓게 사용하는 것과도 차별성이 있다. 춘향가에 없는 내용을 담은 창작곡은 춘향가의 전개를 변형하지 않으면서 춘향과 몽룡의 이야기를 동시대 인간관계의 정서로 표현하며 ‘공감서사’를 강화하고 완성하였다. 대중음악적 요소와 현대적 노랫말을 가진 짧고 편안한 서도밴드의 음악은 <춘향가: 대중가요제 서도밴드바디 스윙조/알앤비조> 등으로 명명할 수 있다.Recently, pansori, Korea’s representative traditional vocal music, has been depicted and represented as an enjoyable popular song for contemporary audience with its unique Korean sensibility. This paper examines the narrative contexts and significance in the process of producing and composing new pansori as well as the phenomenon of popularizing it. The discussion mainly deals with the analysis of sEODo band’s “Song of Chunhyang,” a version with prefix “Joseon pop.” “Popularization of pansori” had meant almost all types of new pansori music comprehensively embracing even the ideas of musicians who tried new music with artistic creativity or diversity. However, voices requiring cannon or criteria for composing pansori, breaking from reckless musical adventure or trial. Rather than focusing on the musical element or genre style, pansori can become popular when the musician achieves assessing reasonable re-contextualization to modern and contemporary songs so that the narrativity in the story telling survives and continues. sEODo band’s new song is considered same as deoneum, the newly added parts in pansori from long time ago. This tradition of adding pieces complementing the musical story differentiates sEODo’s music from other popular songs. However, the lyrics and narration are neither old traditional pansori nor popular songs. Though adapting modern style and freestyle lyric writing, the band removes the linguistic metaphor of the past and abates rhetorics in popular music. The understandable sensibility completes sympathetic narrative in “Song of Chunhyang” with popular music elements, and in the long run thus the music can be called <Song of Chunhyang in Popular music school, sEODo band fashion, swing/R&B mode>.

UKRAINIAN ARCHITECTURAL MODERN STYLE IN THE WORKS OF IVAN LEVINSKY

The article considers the formative features of the formation of the Ukrainian architectural style (modern style) as a phenomenon that has accumulated both properties characteristic of the style of Western European countries, and national traditions of the formation of folk housing or sacred construction. Ukrainian architectural style (modern style) has become an outstanding phenomenon in the development of domestic and European architectural art. It has absorbed many features that have become common to the pan-European architectural heritage, with its features and differences in the varieties of its expression. During the XIX-early XX centuries, church buildings appear in temple architecture, and they were based on the foundations of a "modern" or "realistic" understanding of shaping. Therefore, there is a focus on national culture and traditions, in an innovative sound. Linearity and decorativeness are manifested in stylistic solutions and detailing of decorative elements and inserts. In Galicia, for the first time in 1894, a building was implemented that embodied the above-mentioned features and principles of the formation of the UAS (UAMS). And its creator was the famous architect and industrialist Ivan Levinsky, professor of Lviv Polytechnic.

Marcello Piacentinis Casa Madre dei Mutilati in Rom

Abstract The Casa Madre dei Mutilati in Rome is one of the lesser-known works of the architect Marcello Piacentini (1881–1960). Its history is closely linked to the dramatic events of the First World War and to the resulting association of Italian war invalids. The architecture reacts to the self-interpretation of the war invalids as living martyrs and has a meaningful and representative task. In the short period before the consolidation of Mussolini’s fascist regime, a modern style is manifested here, which attempts to combine classicism and avant-garde before the typical abstraction of the thirties. The tradition of Italian architectural history is still present without falling into a monumental formalism.

ARCHITECTURAL SPACE IN DANCE AS AN ARTISTIC AND FIGURATIVE SYSTEM

The study examines the expressive means of dance and architecture, establishes common and specific areas in the nature of their artistic language, identifies the extent of interaction between architectural principles with dance dramaturgy and choreographic composition, and analyzes examples of interpretation of dance production solutions in the architectural space. Through a simultaneous review, the author examines the expressive means of dance and architecture, establishing the common and the specific in the expressive and pictorial nature of their artistic language. The focus is on identifying the degree of influence of architectural principles on the dance drama, choreographic composition, and the reverse impact. The analysis provides examples of the interpretation of dance staging solutions in the architectural space, including innovative modern practices of the 20th‑21st centuries. The artistic and imaginative metamorphoses of staged choreographic solutions occurring in different kinds of architectural spaces are considered. Starting with the perspectivism of the scenery on the stage and the light architecture of the 18th century, the author moves on to the monumental construction of the large stage performance of the 19th century and concludes with the choreographic experiments of the early 20th century. The article points out that modern times offer the most curious design solutions. There are examples of bold, original methods of interaction between choreography and architecture: dances are staged directly in the interiors of buildings, bypassing the traditional stage platform. The implied idea of human movement in space, encompassing the viewer, appears here because of successively changing impressions. Finally, the author explores the directorial approach, where the choreography itself masters and constructs the architecture, helping the viewer to perceive themselves as if within its own spatial structure. This peculiar artistic and visual synthesis appears in the dynamics of genre and style of the author’s stage context. The study of the specifics of ballet as a dramatic phenomenon seems to be a fundamental research task, because, more than any other theatrics genre, it is the ballet that provided extremely diversified artistic samples of space and stage creativity in the heritage of the 20th century, and probably, will continue to do so in the 21st. The question of dance interpretation in the architectural space is a significant independent subject of research in connection with the structure and evolution of the artistic image in contemporary choreographic art. Against the background of postmodernist modern style trends as a global creative principle of post-culture, this topic includes broad general aesthetic associations. It is vital to the understanding of the artistic process in contemporary art in general.

Building facade components in a historical corridor. Case study: Karet Street, Surabaya

Today’s cities are developing at a breakneck pace, resulting in physical modifications to buildings. This growth can also be witnessed in the presence of new structures designed to house city-related operations. This research was conducted in the corridor area of Surabaya’s Karet Street, a historical district. Numerous historical structures may be seen along Karet Street, including surviving colonial and Chinese-style structures. Historically, this Karet Street corridor region served as a commerce hub due to its proximity to the Kali Mas (Mas River) trade route. However, as the era progressed, the buildings in the corridor of Karet Street became abandoned, many were neglected, and other structures were added, resulting in inconsistency between buildings. Thus, this research aimed to characterize the building facade components along the Karet Street corridor. The research technique used was descriptive qualitative research. Sixty-two structures along the Karet Street corridor comprise the sampled area. The factors consisted of the building’s door/entrance, windows, walls, roof, and the stylef the building—a qualitative descriptive analysis based on the state of the building’s facade in the field. Direct observation, existing literature, and documentation were employed to obtain data. The study’s findings revealed inconsistencies in the building’s exterior components, particularly in the structure’s modern style. In an area that contains colonial and Chinese-style buildings, this contradiction might undermine the area’s historical assets. Additionally, modifications and damage to facade components might obliterate the authenticity of existing historical value.

STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES

The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends. &#x0D; The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style.&#x0D; The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces.&#x0D; Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.

Opera by G. Rossini "Il Barbiere di Seviglia" Through the Prism of Director's Analysis of a Creative Artistic Project

The phenomenon of popularity of the opera «Il Barbiere di Seviglia» by G. Rossini in the context of the global communication of cultures from different countries of the world, the search for a dialogue to their interaction is considered. The relevance of the research suggests the need to solve the problem of director's interpretations of the opera in the context of the revival of the Rossini style of singing in accordance with the author's score. The scientific novelty is determined by defining new approaches to the interpretation of the opera, identified in the conceptual vision of the director's idea of his own project. The purpose of the study is to determine the concept of director's interpretations of the opera by G. Rossini «Il Barbiere di Seviglia» in the context of the new paradigmatics of musical theater. Research methods selected: historical and biographical — to clarify the features of the work by G. Rossini in the context of the formation of Italian opera; genre-stylistic, comparative — to outline the specifics of the musical drama «Il Barbiere di Seviglia» by G. Rossini, its differences from the work of the same name by G. Paisiello; interpretive — to consider the directorial versions of postmodern opera; prognostic — to determine the vector of the conceptual vision of the director's idea of his own project. The main results and conclusions of the study are in the following aspects. It has been found that G. Rossini's opera «Il Barbiere di Seviglia», written on the border of classicism and romanticism, laid the foundation for a new style - Italian romantic opera, which influenced the formation of European national opera schools. It is proved that the musical dramaturgy of G. Rossini's opera «Il Barbiere di Seviglia» by S. Sterbini's libretto differs from J. Paisiello's opera of the same name by Petrofellini's libretto, which is not illustrative as in the latter, specifics of the original source by P. Beaumarchais. The director's incarnations of the opera are the Italian and Russian versions at the Helicon Theater, Russia, and two versions at the National Opera of Ukraine and the Academy's Opera Studio. The conceptual vision of the graduate student of her own project «Il Barbiere di Seviglia» by G. Rossini is predicted, which provides an original synthesis of authentic and modern interpretive styles, traditional and innovative means of expression with their tendency to syncretism based on a combination of scientific achievements and domestic directors.

The effect of external airflows on ventilation with a rooftop windcatcher

This study aims to investigate how a modern style windcatcher, which is much shorter than the traditional ones, is more sensitive to the exterior flows interacting with the associated building itself. This interaction between the onset flows and building façades can influence the ventilation behaviour inside the building. Therefore, full simultaneous exterior and interior measurements are conducted in the wind tunnel around the envelope of a 1:12 generic building model with a two-sided rooftop windcatcher and a wall window. Wind tunnel flow visualisations are carried out to gain insights into the effect of the exterior building topology on ventilation. It was found that rooftop windcatchers performance is strongly influenced by the flows surrounding the building's façades, especially at the building roof with dominating flow separation, and near the room window. Hence, the windcatcher was most effective at oblique wind directions and with an opened room window. On the other hand, the performance response of two Reynolds-averaged Navier-Stokes (RANS) based turbulence models was presented throughout the results.

Nikolay Karazin’s Graphic Series for the Amu Darya and Samara Expeditions of 1874 and 1879

The article examines the drawings and watercolors by the artist Nikolay Nikolayevich Karazin (1842—1908), based on the materials of the Amu Darya and Samara expeditions of 1874 and 1879. The paper aims at reviewing the graphic series “Amu Darya Scientific Expedition”, published in the magazine “Niva” in 1874—1875, and a series of watercolor portraits made during the Samara expedition, in comparison with the pencil portraits by Vasily Vasilyevich Vereshchagin (1842—1904) in the album of photographs “Russian Turkestan”, published in 1874. This collection of artworks has not previously been the subject of a special art history study. Their examination introduces into the field of specialists’ view a significant stage of Nikolay Karazin’s creative path. The relevance of the article, in view of the investigations of recent years, lies in the representation of the image of an artist-traveler, a draftsman during expeditions in the second half of the 19th century.The study of the first series is based on the nature and national types of the Amu Darya delta. The analysis of individual examples of journal graphics is accompanied by a description of some of the author’s simultaneous graphic originals, as well as works of other artists interested in Central Asian ethnography. The article uses a comparative methodological principle, with the analysis of fragments of N.N. Karazin’s literary works — travel essays with a pronounced ethnographic component.The artist’s series of watercolors based on the Samara expedition also presents several images of the ethnotypes of Russian Turkestan, a region of Central Asia in its western part. As a result, there are identified the similarities and differences in the artistic methods and manners, as well as the conditions of creative work, of the two artists — Nikolay Karazin and Vasily Vereshchagin. The analysis is carried out using a comparative method and a socio-historical background.The Amu Darya and Samara graphic cycles represent N.N. Karazin as a mature creator who intuitively used the means of the approaching new time and modern style. At the same time, he did not leave the boundaries of the literary and artistic genre “voyage pittoresque”, overall successfully combining realistic tendencies with the vision of a romantic.

PERFORMANCE CHARACTERISTICS of Eugene Goossens’s Concerto for Oboe and Orchestra

Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves &amp; Hooper, 1985; Goossens &amp; Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas &amp; Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina &amp; Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.

The history of the stages of painting art in the Kurdistan region of Iraq during the twentieth century

في هذه الورقة، قمنا بدراسة تاريخ المراحل الفن الرسم في اقلیم كردستان العراق في القرن العشرين، لنتبیّن منذ متی وعبر أي مراحل وبأي طرق دخل فن الرسم إقليمَ كردستان؟ في النهاية استنتج أن هذا الفن في المناخ مر بمرحلتين نتائج البحث إلی أن هذا الفن في الإقلیم تخطّی مرحلتین: ففي النصف الأول من القرن العشرين (1900 فصاعدا)، كان فنّ الرسم في الغالب فنّاً شعبیّاً غير أكاديمي. وبعد النصف الثاني من القرن العشرين (1950 فصاعدا)، بالإضافة إلى وجود الفن الشعبي دخلت الإقلیمَ أساليبُ الرسم الحدیث والأکادیمي من طرق ثلاثة وهي: أولا، من قِبل الفنانين الذين ذهبوا إلى أمریکا والدول الأوروبية وتعرّفوا علی مختلف الأسالیب لفن الرسم الحديث، ثمّ رجعوا إلی الإقلیم. وثانیاً من طریق الفنانين الذين درسوا فن الرسم بجامعة بغداد، وأخیراً عبرَ الرسوم التقليدية والمنسوجات الیدویة کالسجاجید والبُسط و...إلخ. واتبعنا فی هذه الدراسة، الوصفي التحلیلي التأریخي وقمنا بجمع المعلومات من الکتب والأبحاث وعن طریق الملاحظة والتجربة أیضا.&#x0D; &#x0D; چکیده &#x0D; در نوشتار حاضر تاریخچه مراحل هنر نقاشی اقلیم کُردستان عراق در قرن بیستم به‌عنوان پیکره مطالعاتی بررسی شده‌است و پژوهشگر تلاش می‌کند به این پرسش پاسخ دهد که هنر نقاشی مدرن از چه تاریخی و طی چه مراحلی و از چه راه‌هایی وارد اقلیم کردستان شده‌است؟ در پایان این نتیجه حاصل شد که این هنر در اقلیم دو مرحله را پشت سر گذاشته‌است: ابتدا در نیمه اول قرن بیستم (1900)، هنر نقاشی بیشتر یک هنر غیرآکادمیک و مردمی بوده. بعد از نیمه دوم قرن بیستم (1950 به بعد)، علاوه بر وجود هنر مردمی، سبک‌های هنر نقاشی مدرن و آکادمیک، غالبا از سه راه وارد عرصه هنر این اقلیم شده‌است. ابتدا از راه هنرمندانی که به کشور های اروپایی و امریکا رفته اند و با سبک های مختلف هنر نقاشی مدرن آشنا شده اند. راه دیگر از جانب آن هنرمندان که در رشته هنر نقاشی در دانشگاه بغداد مشغول به تحصیل بوده اند، راه سوم از نقش و نگار های سنتی و دست بافته های مثل قالی و گلم و فرش، و . . . روش تحقیق، از منظر هدف، بنیادی-نظری و از منظر شیوۀ، توصیفی تحلیلی، با رویکرد تاریخی است. شیوه جمع‌آوری اطلاعات نیز به‌صورت کتابخانه‌ای و میدانی است.