Representational Arts Research Articles

El dibujo como arte de la memoria: breves notas sobre los fundamentos de la Representación

The present essay concisely addresses the psychological roots or foundations of graphic rep- resentation. To do this, it presents some ideas from Karl Popper, Karl Bühler, Johan Huizinga, Samuel Coleridge, Ernst Kris, Julián Marías, C. S. Lewis, and especially, Ernst Gombrich, gath- ering valuable insights from all of them for the analysis of any drawing. First, some ideas are mentioned that were raised in a debate between Karl Popper and Konrad Lorenz regarding the emergence of language and the human capacity for deception and simulation. The psycholo- gist and linguist Karl Bühler, in his Theory of Language, refers to graphic representation as a non-linguistic representation system, spanning from the most illusory images to those with minimal iconicity. The cultural historian Johan Huizinga explains in his book Homo Ludens how the art of the graphic representation not only exhibits a series of playful characteristics but that it is precisely the innate playful tendency in humans that has given rise to all artistic manifestations. In this sense, the poet Samuel Coleridge describes how, in artistic enjoyment, there is always a willing suspension of disbelief. Ernst Kris, an art historian and psychiatrist, highlights in his book, The Legend of the Artist, the power of imagination in the creativity of artistic forms, thanks to the plasticity of the human mind that allows us to take one thing for another. These insights of Ernst Kris are enriched by the ideas of the philosopher Julián Marías, who addresses the issue from the beautifying nature of illusory deception. The medievalist and literary critic C.S. Lewis opens new perspectives on what we understand as the resemblance or likeness between reality and a drawing. Meanwhile, the cultural historian E.H. Gombrich summarizes and completes this entire set of ideas, emphasizing the viewer's effort in seeking meaning in any type of representation, which allows him to highlight the important role that memory and our recollections play in the interpretation of any drawing.

Dihedral Artin representations and CM fields

For a fixed CM field K K with maximal totally real subfield F F , we consider isomorphism classes of dihedral Artin representations of F F which are induced from K K , distinguishing between those which are “canonically” induced from K K and those which are “noncanonically” induced from K K . The latter can arise only for Artin representations with image isomorphic to the dihedral group of order 8. We show that asymptotically, the number of noncanonically induced isomorphism classes is always comparable to and in some cases exceeds the number of canonically induced ones.

DEVELOPING THE AESTHETIC CULTURE OF THE FUTURE SOCIAL PEDAGOGUES THROUGH THE ART OF VISUAL REPRESENTATION

The evolution of pedagogical methods necessitates a shift toward cultivating an aesthetic culture in social pedagogues, particularly through the art of visual representation. This article explores the imperative role of visual arts in shaping future social pedagogical practices, emphasizing the development of an aesthetic sensibility within educators. It delves into the conceptual framework, examining the correlation between visual literacy, pedagogy, and societal transformations. Embracing the multifaceted dimensions of visual representation, this work elucidates the significance of integrating art forms into pedagogical strategies. The article aims to foster a comprehensive understanding of how cultivating an aesthetic culture among social pedagogues through visual artistry can augment their efficacy in nurturing dynamic, socially conscious individuals. This article navigates through established theoretical frameworks, drawing on extensive research to underscore the pivotal role of visual representation in shaping the future of social pedagogy. It strives to unravel the intricate relationship between visual arts and pedagogical methods, emphasizing the transformative impact of infusing educational approaches with artistic elements. Ultimately, this integration aims to nurture socially conscious, critically reflective individuals capable of navigating the complexities of the contemporary world.

Conductor-Discriminant Inequality for Hyperelliptic Curves in Odd Residue Characteristic

Abstract We prove an inequality between the conductor and the discriminant for all hyperelliptic curves defined over discretely valued fields $K$ with perfect residue field of characteristic not $2$. Specifically, if such a curve is given by $y^{2} = f(x)$ with $f(x) \in \mathcal{O}_{K}[x]$, and if $\mathcal{X}$ is its minimal regular model over $\mathcal{O}_{K}$, then the negative of the Artin conductor of $\mathcal{X}$ (and thus also the number of irreducible components of the special fiber of $\mathcal{X}$) is bounded above by the valuation of $\operatorname{disc}(f)$. There are no restrictions on genus of the curve or on the ramification of the splitting field of $f$. This generalizes earlier work of Ogg, Saito, Liu, and the second author.

Dickens and Democracy in the Age of Paper: Representing the People by Carolyn Vellenga Berman

Reviewed by: Dickens and Democracy in the Age of Paper: Representing the People by Carolyn Vellenga Berman John M. L. Drew (bio) Carolyn Vellenga Berman. Dickens and Democracy in the Age of Paper: Representing the People. Oxford UP, 2022. Pp. xiv + 353. £90.00. ISBN 978-0-19-284540-5 (hb). In his lengthy speech condemning the Absolutist regime of Miguel I of Portugal on 1 June 1829, Viscount Palmerston gave a memorable account (inserted into Hansard by special permission) of the operation of power in human society: “There is in nature no moving power but mind, all else is passive and inert; in human affairs this power is opinion; in political affairs it is public opinion; and he who can grasp this power, with it will subdue the fleshly arm of physical strength and compel it to work out his purpose.” Indeed, those who “know how to avail themselves of the passions, and the interests, and the opinions of mankind, are able to gain an ascendancy, and to exercise a sway over human affairs, far out of proportion greater than belong to the power and resources of the state” (Hansard) 1668). Palmerston took it for granted that it fell to statesmen to wield such power, but during his lifetime, the rise of what Macaulay a few years later famously dubbed the “Fourth Estate” of the realm saw journalists, newspaper editors, and even writers of popular fiction assuming a similar influence, to the consternation of Establishment figures like Sir James Fitzjames Stephen (1829–94), who felt democratic institutions could be dangerously undermined through being called to account by unelected populist rabble-rousers: [J]ust as a foolish gossip in a country-town, who says what she pleases because all the world knows what her tongue is like, may babble away the purest character, a popular novelist may produce more disaffection and discontent than a whole army of pamphleteers and public orators, because he wears the cap and bells, and laughs in your face when you contradict him. A novelist has no responsibility. (347) In the classic Whig-Liberal narrative of the growth of the periodical press in the nineteenth century, a mighty engine gradually frees itself from the grip of government, aristocratic patronage and reactionary “Taxes on Knowledge.” But for Marxist and many left-leaning media historians in the twentieth [End Page 248] century, the press merely passed from being the plaything of ministers to that of unprincipled capitalists, moguls and market forces: power without responsibility remains a keynote of the analysis.1 Across such fault-lines and mindful of their implications for the way we live now, Carolyn Berman’s important new book on Dickens picks its way, with thoughtful ingenuity. It hinges throughout on the idea of representation of “the people,” as the twinned imperative of parliamentary democracy on the one hand and fiction writers on the other, and in particular on the simultaneously comic and deadly serious interplay in Dickens’s writings between these Doppelgängers. Broadly, it draws on the fact that in the “age of paper” (that is to say, the Modern period, since the invention of printing) government business involves the recording in print of the activities of its citizens–an activity, particularly in the so-called “blue books” of the 1840s Royal Commissions, that involved chronicling the lives of the poor and reporting their oral testimony. This draws the work of both Dickens and Parliament into the same medium, as well as pointing up how both kinds of authority present their own narrative world of “alternative facts.” Berman tackles the problem of analyzing Dickens’s political aims (considered openly socialist by some and covertly despotic by others) with skill and vigor, claiming from the outset that “we have underestimated the ways in which his writings can help us to understand the challenges of representative government” (3). The book is divided into three parts, the first of which (“The Art of Representation”) covers Dickens’s saturation in shorthand as a reporter and contributor to his uncle’s verbatim record of the debates in the Houses of Commons, The Mirror of Parliament, and explores the place of The Pickwick Papers in the context of...

NFT as Leading Tool of Art in Representation of Visual Environment

The purpose of the work is to investigate the specifics of the impact of NFT technology on the state of art expertise in the organisation and implementation of virtual auction and gallery projects. The research methodology is based on the application of a systematic approach in the study of NFT technology on the analysis of aggregate methods, in particular art history, analytical, empirical, historical, comparative, synthesis, and modeling. The scientific novelty lies in the peculiarities of organising and conducting virtual galleries and auctions based on NFT technology in modern conditions. Practical and theoretical recommendations to specialists are developed for art critics for improving the methodological base, mastering new digital methods of auction and gallery activity in order to improve the level of qualification of art expert experts in the conditions of the unlimited dominance of digital technologies in the modern world. Conclusions. The rapid development of IT technologies in the modern world has led to a paradigm shift in traditional forms of organisation and conducting auction and gallery activities. This means that the art market is gradually moving from a traditional art market to a virtual one, where the exchange of classic works of art is replaced by the creation of semi-artistic samples of works of art by famous authors, which transform into a new reality through the prism of digital technologies, in particular, through NFT technologies. This, in turn, leads to the distortion of the classical vision of works of art and their devaluation. The creativity of world-renowned authors is presented in a new digital reality, where works of art go through different stages of their interpretation depending on the subjective vision of the creators of digital art. That is, we observe how the new generation tries to deny classical art and offers to use digital technologies to create their own digital works of dubious quality. At the same time, the involvement of the latest digital technologies helped to qualitatively improve and reliably protect property rights in the field of copyrights for works of art with the help of SEO, cryptocurrency, blockchain network and ensure the reliability of transactions during auctions.
 Key words: NFT, blockchain network, interpretation, digital art, virtual auctions and galleries, ownership, digital reality, cryptocurrency, transaction reliability.

The Ruins Lesson: Meaning and Material in Western Culture

Susan Stewart has sculpted a book. If her poetry collection, Columbarium (2003), avowed its controlling Empedoclean element to be water, then The Ruins Lesson presents itself as Empedoclean earth. Readers will savour the pliable, ten-by-seven inch paper covers. The weight of 400 pages gives haptic depth to the cover image’s autumn browns and muddy ochres. Steadying the volume with one hand while the other fans creamy pages, the book opens like a magic box to eleven, centre-bound colour plates. There are forty pages of endnotes, eighty half-tones and photographs (several by the author) interspersed throughout, and a bountiful bibliography. I cannot recall a book with so many references to personal communications with authors, curators, librarians, and archivists. Readers are almost set in motion imagining Stewart plying devices and platforms in assembling this book. The Table of Contents points to an irony. The first two chapters, ‘Matter’ and ‘Marks’, seem to offer themselves as pedestal, foundation blocks of the book’s subtitle. Yet reading them, one finds surprising veins of attention. These swell in Chapter III, ‘Mater: Nymphs, Virgins, and Whores - On the Ruin of Women’, with finely calibrated cultural critique, and art and literary analyses. The next three chapters—‘Matrix’, ‘Model’, and ‘Mirrors’—continue the roughly chronological engagement with ideas and images. Chapter IV gives an account of the emergence of ruins appreciation; V establishes ruins as a genre within representational arts, mainly prints; VI takes up ruins in Romanticism, especially Blake, Wordsworth, and Goethe (Mary Shelley’s ruined creature makes an appearance). The final two chapter titles do not deploy ‘M’, echoing the ironic façade of the first two chapters. Chapter VII considers fragments and the unfinished, topics developed with different emphases in earlier essays by Stewart.

Counting 3-dimensional algebraic tori over [formula omitted

In this paper we count the number N3tor(X) of 3-dimensional algebraic tori over Q whose Artin conductor is bounded above by X. We prove that N3tor(X)≪εX1+log⁡2+εlog⁡log⁡X, and this upper bound can be improved to N3tor(X)≪X(log⁡X)4log⁡log⁡X under the Cohen-Lenstra heuristics for p=3. We also prove that for 67 out of 72 conjugacy classes of finite nontrivial subgroups of GL3(Z), Malle's conjecture for tori over Q holds up to a bounded power of log⁡X under the Cohen-Lenstra heuristics for p=3 and Malle's conjecture for quartic A4-fields.

The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques

Reviewed by: The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques Laura Wilson (bio) The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques In her touching preface to this collection of Danièle Pitavy-Souques's essays, Pearl McHaney writes that: "The Eye That Is Language: A Transatlantic View of Eudora Welty offers readers and scholars a global perspective of Welty's achievements" (xi). The volume, published by the University Press of Mississippi in 2022, was originally conceived by Pitavy-Souques as a way to collate writings from her decades-long commitment to Welty studies, but was sadly never finished before her death in July of 2019. McHaney worked with Pitavy-Souques during the initial stages of planning for the collection and was supported by Danièle's husband François Pitavy in bringing his late wife's idea to fruition. Bookended by McHaney's introductory remarks and a closing remembrance of Pitavy-Souques's and Welty's friendship written by François, the book now stands as a shining memorial to Pitavy-Souques's inimitable work on Eudora Welty and the achievements of her own life, including the highest French merit Légion d'honneur and the highest Eudora Welty Society accolade, The Phoenix Award. Thinking about the perspective of this collection offers us the chance to consider Welty's art of representation, alongside the way she so often plays with appearances and points of view (visual, moral, political). At the same time, perspective is a common term in visual arts such as photography, painting, and film, all interests of Eudora Welty that are deftly explored in this book. Focusing on the perspectives of this collection emphasizes Pitavy-Souques's examination of what we might call the language that is eyes: that is to say, moments where Pitavy-Souques shows us how Welty viewed, illustrating the multiple perspectives that she wrote both from and about. Explorations pertaining to sight abound in this volume. A word concordance demonstrates that the word see is featured 115 times in addition [End Page 175] to seen 43, sees 28, and seeing 13. Eye or eyes appears 79 times. The first visual tool that really stuck out for me in the work, the mirror, lexically appears 40 times (50 if you include its plural and connected words), as Pitavy-Souques suggests that "Welty used mirror effects quite early," calling this a "modernist feature favored by Virginia Woolf in her short stories and by surrealist filmmakers like Jean Cocteau" (116). The mirror symbol offers readers another chance to interrogate Welty's fictional technique, questioning the accuracy of reflected images produced by layers of metal and glass, a surface that only ever provides a virtual image since light rays never actually cross over in a reflection. In turn, Pitavy-Souques argues that in Welty's work, "the surface functions as a lure; behind the apparent picture or story, there lies another one, much more instructive or disturbing" (111). A reading of Delta Wedding illustrates well such ideas of illusion and false representation: From the first, in spite of its apparent hugeness, the Delta and the plantation appear to Laura [McRaven] as a closed world limited by reflection: the sky mirrors the fields, the name Fairchild refers to the place as well as to its inhabitants, and characters come and go between two identically furnished plantation houses. The black waters of the bayou reflect a house that was never lived in. (117) Twinning and repetition feature often in Welty's work as extensions of the perceived image, with the reflective façades of Shellmound and Marmion working to trap Laura McRaven inside layers of outward appearance, the idealized front-facing image of plantation culture that historically concealed many real horrors. Horror and fascination relate to another key argument that flows throughout the book: the notion of the mythical hero Perseus as a symbol for the artist, indeed Welty herself, who "questions her art in the very moment she is creating it" (11). Given my own particular fondness for the Gorgon myths and Welty's use of Medusa, I was very much drawn to...

A New Anatomy of Storyworlds: What Is, What If, As If by Marie-Laure Ryan

Reviewed by: A New Anatomy of Storyworlds: What Is, What If, As If by Marie-Laure Ryan Edward Wells (bio) Marie-Laure Ryan, A New Anatomy of Storyworlds: What Is, What If, As If, The Ohio State University Press, 2022, ISBN: 978-0-8142-1508-1, 226 pages, $89.95 A New Anatomy of Storyworlds: What Is, What If, As If is a scholarly work on a storyworld-based theory of narratology. However, its strengths lie beyond the scope arguing the merits of such a theory. They include its thorough address of fundamental concepts connected to narrative including, truth, fiction, narrators, and representation. The book's systematic address of these topics in a relatively easy-to-access manner allows the book to serve as a useful resource for educators focused on narratology and related concepts. If one is interested in wading quickly into the depths of "the implications of the concepts of world for narratology" (1), this book is an accessible entry point. The ideas present may also offer considerable provocation for scholars of narratology. Ryan includes primers and exploration not only of their central topic but for many of the concepts fundamental to narrative and fiction. The Introduction alone offers insight and detail of the history of narratology and a foundational understanding of the theory Ryan develops: "[n]arrative texts cannot represent 'all that exists,' but they can, and should, represent how individual existents relate to the people and objects that define their living environment" (7). The book is written in a way that allows each chapter to familiarize the reader with the chapter's focal topic within the context of narratology rather than foregrounding Ryan's storyworld theory of narratology. The chapter topics follow: Truth, Fiction, Narrator, Characters, Plot, Mimesis and Diegesis, Parallel Worlds, Impossible Worlds, Virtual Worlds, and Transmedia Worlds. The expansive and historical orientations present throughout are one of the recurring strengths of A New Anatomy of Storyworlds. They offer straightforward perspective and dominant ideas to which one may align or work against to form one's position. As one moves through the text, within the thoroughness of Ryan's thought, one faces the foundational consideration that any character, any event, must have a world, in the sense of a container, even if that container is a fictional nothingness. This consideration alone makes evident that storyworlds do have a fundamental place within narratives, if not a primacy. The first chapters are particularly interesting though their content makes clear that the body of the text is not limited to pressing major points of the argument for a storyworld-based theory of narratology, so much as immersing the reader in a broad perspective which itself is informed by the storyworld-theory. The first chapter, as an illustration of the approach and tone throughout much of the book, considers in detail the practical consideration of whether truth is an apt defining characteristic of fiction. If one is interested in concepts of truth, this chapter is a highly functional introduction and map of the highlights. It clearly lays out many of the relevant primary texts, such as Aristotle's Metaphysics; Alfred Tarski's The Semantic Conception of Truth (1969); Richard Rorty's Consequences of Pragmatism (1982) and Contingency, Irony and Solidarity (1989); [End Page 127] David Lewis' Truth in Fiction (1978); and Kendall Walton's Mimesis as Make-Believe: On the Foundations of the Representational Arts (1990), among others. Toward the end of the chapter, there are three sections on truth from a perspective more attuned to narratology. These sections—Fictional Truth, Literary Truth, and Mythical Truth—are additional examples of what makes the book so functional as a broad reader which can take one from beginner toward expert remarkably swiftly. Following these sections, Ryan's reflective conclusion to the Truth chapter returns to a thought introduced at the beginning of the chapter, Alan D. Sokal's 1996 challenge of the postmodernist critique of scientific truth in "Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity" reprinted in The Sokal Hoax (2000). Ryan conversationally wonders "what would happen if the postmodern critique of truth as correspondence succeeded in bringing the scientific community down to its knees" (33). While it...

The Art of Political Representation

doe

Local distinction, quadratic base change and automorphic induction for GL n

Behind this sophisticated title hides an elementary exercise on Clifford theory for index two subgroups and self-dual or conjugate-dual representations. When applied to semi-simple representations of the Weil–Deligne group W F ′ of a non Archimedean local field F, and further translated in terms of representations of GL n (F) via the local Langlands correspondence when F has characteristic zero, it yields various statements concerning the behaviour of different types of distinction under quadratic base change and automorphic induction. When F has residual characteristic different from 2, combining of one of the simple results that we obtain with the tiviality of conjugate-orthogonal root numbers ([8]), we recover without using the LLC a result of Serre on the parity of the Artin conductor of orthogonal representations of W F ′ ([23]). On the other hand we discuss its parity for symplectic representations using the LLC and the Prasad and Takloo-Bighash conjecture.

Editor's Introduction

Tennessee State University historian Andrea Ringer neatly situates the twentieth-century decades of the traveling circus within a larger framework of labor and industrial history. A large enterprise comprising as many as one hundred railcars and three hundred horses as it traversed the countryside, the traveling circus, says Ringer, might best be considered a “traveling company town.” Even as a few owners like Barnum and Bailey and the Ringling Brothers had generally consolidated control of the industry by the 1930s, their employees—an interracial and mixed-gender assembly of ordinary laborers and skilled specialists including sideshow workers who fought off their popular label as “freaks”—were organizing around wages and working conditions under various AFL actor and teamster unions. The distinctiveness of the circus workscape, defined by tensions between paternalism and class status and tradeoffs of work and leisure time, ultimately succumbed to a combination of mechanization and modernization, which diminished its exotic appeal. In 1956, the last road show folded its tents and joined the transition to indoor arenas.With a microcosmic look at the 1950 American Enka rayon workers’ strike in Morristown, Tennessee, Jennifer Brooks makes us think again about the real impact of the national Taft-Hartley Act, passed two years earlier. While several sections of Taft-Hartley are standard-issue features of labor history lectures documenting a turn away from the union-enabling message of the Wagner Act of 1935—including a ban on secondary boycotts and the permission for states to ban union shops—a lesser-known aspect of the new law, according to Brooks, proved pivotal in Morristown and many other workplaces across the South. When they recruited replacement workers, employers could themselves now file for National Labor Relations Board elections—elections under which the new workers could vote, while still-striking workers could not! Utterly averse to the intended spirit of New Deal – era labor law, the new wrinkle fit well into a changing era of industrial relations.Jeff Schuhrke assembles a revealing roundtable on the social conditions affecting the latest wave of labor journalism. Michelle Chen looks back on a century of the labor beat, highlighting an arena still short on “working-class voices.” Luis Feliz Leon, who struggled as an unpaid intern, laments the media preference for “pundits”—often fresh out of Ivy League universities—over working journalists. Dave Jamieson celebrates recent unionizing success in circles where it sometimes seems “a little strange not to be organized in this field.” Finally, Kim Kelly takes pride in negotiating the challenges of a freelance market where even Teen Vogue finds itself in need of labor coverage.Arts and Media editor Richard Wells usefully reconstructs the mixed reception of auteur filmmaker Mike Leigh's treatment of the Peterloo Massacre, a pivotal event in working-class history that also figures centrally in E. P. Thompson's Making of the English Working Class. As Wells relates with citations ranging from film critic A. O. Scott to historian Peter Linebaugh, Peterloo proved something of a Rorschach test for the art and ethics of working-class representation as well as the politics that connects 1819 to 2019.In his review of Nate Holdren's account of workplace accidents and the law in the Progressive Era, Gabriel Winant laments the fracturing of the field into separate vectors defined by working-class agency, the “cultural turn,” and state-and-institutional analysis. In doing so, he salutes Holdren for helping to “bring back” these too-often-separated projects “into conversation.” Fortunately, our reviewers suggest that synthetic and insightful intellectual forays also characterize other studies, including Erin Hatton's treatment of “coercion” as applied to such disparate groups as prisoners, welfare recipients, graduate students, and college athletes; and also the meaning of “disability” in Tracy Kinder's study of wounded Union army veterans. Among several other works worthy of special note, Kim Phillips-Fein calls attention to a Mike Davis/Jon Wiener blockbuster on radical LA youth in the 1960s, Robin Muncy dissects two big anthologies on the legacy of the New Deal, and Donna Haverty-Stacke touts David Witwer and Catherine Rios's insights about the far-reaching impact of the McClellan Committee's largely phony war on union crime in the late 1950s.Finally, having bid a fond adieu to Jim Daniels in the last issue, we welcome Labor's new poetry editor, Susan Eisenberg. In recalling the moment of workplace transition between a retiring staff member and her successor at a union office, “Renee's Bouquet” indicates how much individual gestures of kindness and connection make a difference in our lives.

On analogues of Mazur-Tate type conjectures in the Rankin-Selberg setting

We study the Fitting ideals over the finite layers of the cyclotomic $\mathbb{Z}_p$-extension of $\mathbb{Q}$ of Selmer groups attached to the Rankin--Selberg convolution of two modular forms $f$ and $g$. Inspired by the Theta elements for modular forms defined by Mazur and Tate in ``Refined conjectures of the Birch and Swinnerton-Dyer type'', we define new Theta elements for Rankin--Selberg convolutions of $f$ and $g$ using Loeffler--Zerbes' geometric $p$-adic $L$-functions attached to $f$ and $g$. Under certain technical hypotheses, we generalize a recent work of Kim--Kurihara on elliptic curves to prove a result very close to the \emph{weak main conjecture} of Mazur and Tate for Rankin--Selberg convolutions. Special emphasis is given to the case where $f$ corresponds to an elliptic curve $E$ and $g$ to a two dimensional odd irreducible Artin representation $\rho$ with splitting field $F$. As an application, we give an upper bound of the dimension of the $\rho$-isotypic component of the Mordell-Weil group of $E$ over the finite layers of the cyclotomic $\mathbb{Z}_p$-extension of $F$ in terms of the order of vanishing of our Theta elements.

On order of vanishing of characteristic elements

AbstractLetpbe a fixed odd prime. LetEbe an elliptic curve defined over a number fieldFwith either good ordinary reduction or multiplicative reduction at each prime ofFabovep. We shall study the characteristic element of the Selmer group ofEover ap-adic Lie extension. In particular, we relate the order of vanishing of these characteristic elements evaluated at Artin representations to the Selmer coranks and their twists in the intermediate subextensions of thep-adic Lie extension.

Theoretical and Conceptual Approaches to Cyber Theatre

The article addresses the question of integration and dispersion in theatre. Theatre is the art of representation, so it is presented as unified and integral, starting with Aristotle's principle of three unities, through Shakespeare, Calderón de la Barca's The Great Theatre of the World or Erwin Piscator and Walter Gropius's model of total theatre. With the outbreak of the coronavirus pandemic, theatre changed, not only by itself but also by necessity, becoming diffuse and imprecise. It broke with one of its foundations: the encounter between spectators and actors in a designated space. Theatre ceased to be a place of performance and the stage was moved to nowhere. Digital theatre assumed an anti-Aristotelian order; the classical principle of the three unities of place, time and action was broken. However, even though the pandemic shook the foundations of theatre and theatre used all the means offered by new technologies, the fundamental concepts of theatre and theatrical space were not abolished.

Русская традиция «играть песни» как феномен народного исполнительства

Russian musical folklore reflects the rich culture of the people, for them performing a song means to reveal the soul in it. Nowadays, there is an acute problem of preserving the traditional criteria of folk performance as a national treasure. But it can be solved not by imitation of the external signs of folklore intonation, but through a deep understanding of the primordial signs of the very process of folk song creation. Many of them are rooted in the Russian tradition of “playing songs”, which was widespread in Russia until the middle of the 20th century. The purpose of this work is to study its features as a phenomenon of folk performance. The signs of the tradition of “playing songs” form a complex, multi-valued concept, which is considered in the article from different positions. The main attention is focused on understanding the artistic, aesthetic and phenomenological principles of this phenomenon. In the folk environment, the concepts of “singing” and “playing” songs are delimited. Spiritual verses were sung, and songs were played. The expression “playing songs” contains a “genetic code’, marking the signs of the Proto-Slavic culture, when the very word “game” meant “singing and dancing in honor of a pagan deity”. In ritual folklore, this concept is revealed as the art of representation. In songs with deep psychological overtones – as the art of experiencing. “Playing a song”, the singers are able to penetrate into the subtle world of poetic images and into the intonation subtext of musical images. In the process of “immersion” in the conditional reality of the song space, they can interpret the idea of the song in a new way and, in the context of certain life circumstances, create new versions of the prototype.

GEOMETRIC LOCAL -FACTORS IN HIGHER DIMENSIONS

AbstractWe prove a product formula for the determinant of the cohomology of an étale sheaf with $\ell $ -adic coefficients over an arbitrary proper scheme over a perfect field of positive characteristic p distinct from $\ell $ . The local contributions are constructed by iterating vanishing cycle functors as well as certain exact additive functors that can be considered as linearised versions of Artin conductors and local $\varepsilon $ -factors. We provide several applications of our higher dimensional product formula, such as twist formulas for global $\varepsilon $ -factors.

WORLD IMAGE IMPRESSIONS IN "DEVONU LUGOTIT TURK"

The article discusses the importance of the image of the world in Mahmud Kashgari`s "Devonu lug'otit turk" the art of artistic representation.

Guido Paduano, Teatro. Personaggio e condizione umana. Roma: Carocci, 2020, pp. 209.

In this book the author analyses those theatrical masterpieces in which the ability to represent and give meaning to humanity’s principal hopes and needs is to be most clearly discerned. Beginning with the tragedies of Ancient Greece and Greek and Latin comedy, it continues with the rejection of Aristotelian conventions and the reaction against tradition by the twentieth-century European avant-garde. En route it pauses to consider Seneca, Shakespeare, French classicism and the theatrical output of the nineteenth century, from Goethe’s Faust to Wagner, before targeting the analysis towards Pirandello, Brecht, Ionesco and Beckett. The quest in search of a meaning for the human condition and thus for the art of representation is staged through the changes in interpretation of the concepts of freedom, guilt, responsibility and fate, embodied by turns on the part of the characters and through the theatrical transformation of the relationship between the individual and society. This exploration, despite its complexity, is rendered straightforward and informative thanks to the logic of its structure and the successful linking of the many and various filaments of the argument. The approach to the great theatrical works is both exact and impassioned. The plot summaries, both stringent and incisive and, furthermore, having the capacity to convey the inherent meaning, make for engrossing reading. Ample space is given to differing interpretative positions and lively discussions arise, thus lending an atmosphere of intellectual adventure to the whole discourse. Finally, the special relationship Guido Paduano maintains with the texts, and his extensive knowledge in many different spheres allow him to retrace themes and situations which recur in various works, both theatrical and musical, creating, in this way, suggestive echoes which become in their turn an unexpected source of fascination. Keywords: theatre; character; the human condition; individual; society