Synthesis Of Traditions Research Articles

THE PARTHO-ROMAN RELIEFS FROM TUR ABDIN: ROCK-CUT RELIEFS OF BEGANI

This paper analyses the Begani rock reliefs, a crucial body of works reflecting the complex cultural and artistic interactions of the Partho-Roman period in northern Mesopotamia. The study investigates the strong links between the reliefs and Parthian and Mesopotamian artistic traditions and focuses on the iconographic elements that characterise this period, such as clothing, postures, and weapons. The analyses indicate that the Begani reliefs have common features with sculptural works from prominent artistic centres such as Edessa, Hatra and Palmyra, pointing to a broader cultural network in the region. The synthesis of local traditions in the depicted garments, including tunics and trousers, demonstrates the widespread influence of these artistic expressions across different regions. Furthermore, the paper highlights the Adiabene kingdom's role as a major regional power, which probably influenced artistic production in neighbouring principalities by evaluating the reliefs in the context of the kingdom of Adiabene. The influence of the Parthian Empire and subsequent Roman control has been recognised as crucial in shaping the region's artistic landscape. Despite the difficulties posed by the damage the reliefs suffered, which made it challenging to identify the figures, the details provide insight into the artistic transformations of the period. The results emphasise the importance of further research into the iconography of the Begani reliefs and their relationship with other regional works. This approach aims to improve our understanding of the social and religious contexts of the sculptural traditions of northern Mesopotamia and their interrelationships within the framework of artistic production in the region.

Embracing Tradition and Modernity: Tendencies of Interwar (1918–1940) Wooden Architecture in Lithuanian Resorts

Summary The emergence of leisure culture in Lithuania began in the late 19th century, gradually giving rise to resort towns. Although in some cases, recreational architecture can be associated with relatively luxurious examples that follow the European resort tradition, the article argues that the dominant type of Lithuanian resort architecture manifested itself as a subtle synthesis of local traditions and external influences. The balance between architectural traditionalism and the constantly changing social demand is particularly well represented by wooden architecture. The modernising society of inter-war Lithuania brought significant changes to the development of resort architecture. Not only did new functional types, such as seaside restaurants characteristic of resorts, took shape, but private residential architecture also acquired specific features. The article presents the phenomenon of wooden resort architecture which has not been sufficiently explored and illustrates how resort architecture has influenced the most cost-effective segment of construction, which is also the segment most closely linked to tradition. The text assumes that this layer of the resort environment was as important a part of resort life as more modern and expensive brick construction.

Elite culture of Early Modern Crimean Khanate: Western Travellers' Perceptions

The statehood of the Crimean Tatars indigenous people of Crimea is little known worldwide. In the era of the Crimean Khanate, the Crimean Tatars cultivated elite culture characterised by a synthesis of European customs and Islamic religious traditions. The term "elite culture" refers specifically to the cultural society of the established aristocracy, the educated upper class, political influencers, and individuals active in fields such as education, art, literature, architecture, philosophy and the military. Elite culture in the Crimean Khanate can be described as the confluence of various influences leading to a distinctive fusion of artistic, intellectual and social elements. This study looks at elite culture from the perspective of Western travellers from France, Germany, Poland and England visiting Crimea in 16th-19th centuries, in particular, Martin Bronowski, Baron de Tott, Claude-Charles de Peyssonnel and others. The research contends that the travelogues portrayed a harmonious blend of culture and politics, showcasing how certain Crimean khans, who were also skilled writers and musicians, contributed to this vision. The leaders of the Crimean Tatar Giray dynasty aspired to establish an advanced state, characterized by a military and a thriving intellectual heritage, deeply intertwined with the Ottoman Empire.

Analysis of the British National Characters From a Historical Perspective

This essay discusses the intricate formation of the British national character through a historical lens, and put forwards a view that it is combined by two contradictory elementsconservatism and radicalism on the basis of adequate historical facts and personal reflection. By illustrating with historical facts, the essay reveals the lasting traits of British conservatism, which is evident in steadfast attachments to monarchy and deep-seated respect for legal traditions. Despite periods of upheaval, such as the Glorious Revolution, the British have showed a resilience in preserving established norms and structures, which reflect a pragmatic approach to social evolution. On a contrary, the essay also demonstrates radical impulses that have propelled transformative movements for political and social equality in British history, from the Peasants' Revolt to the suffragette campaigns. Through this dialectic, British national character emerges as a dynamic synthesis of tradition and transformation, conservatism and radicalism, where ruling elites navigate change with pragmatic conservatism while social masses champion radical progress.

Blended Legacies: Vietnamese and Other Foreign Influences on the FARC-EP

The article analyzes the phenomenon of blended legacies. It is defined as the local synthesis of foreign guerrilla warfare traditions that the FARC-EP adopted to gain the advantage in their own war. We focus on Vietnamese influence within FARC-EP. The text tracks three types of connections between the FARC-EP and the guerrilla warfare legacies: first, early influence of Vietnamese and Maoist guerrilla political, strategic and tactical literature, as well as Soviet influence through the Colombian Communist Party; second, training in Vietnamese methods from secondary and tertiary parties, particularly instruction the M-19 and ELN received in Cuba and El Salvador respectively that they later passed on to the FARC-EP; and third, direct training the FARC-EP received in Vietnam in 1990. The text also demonstrates the local synthesis through an analysis of the FARC-EP special forces development, as well as their use of improvised explosives.

Cultural Character Analysis on Architectural Elements of the Chinese Temples’ Buildings before the 19th Century in Central Java

The research provided an in-depth exploration of the architectural nuances of pre-19th century Chinese temples in Central Java, Indonesia, emphasizing their cultural significance and relevance. A detailed examination of a range of temples identified unique architectural features that reflected a sophisticated synthesis of Chinese cultural elements and local Javanese traditions. Applying a qualitative method, the research integrated historical scrutiny with architectural analysis, meticulously examining stylistic attributes, construction methodologies, and decorative patterns typical of these temples. The key discoveries highlight an intricate amalgamation of traditional Chinese architectural principles with native materials and craftsmanship, culminating in a distinctive, hybrid architectural form. This fusion not only symbolizes the cultural convergence and assimilation between Chinese immigrants and the indigenous Javanese during the pre-colonial era but also underscores the role of these temples as pivotal preservers of Chinese cultural heritage in Java. Furthermore, the research contributes to a deeper understanding of the diversity within architectural practices and offers insightful perspectives on the historical and socio-cultural dynamics in Central Java. The novelty of the research is anchored in its focused examination of a historically and geographically specific context, its interdisciplinary and thorough approach, the revelation of a unique hybrid architectural style, and its significant insights into the cultural and sociological dimensions of Central Java’s architectural legacy.

Signs of the Style of Early Romances by N. S. Golovanov

Abstract. The article is devoted to the early romances of N. S. Golovanov, a great Russian and Soviet conductor and composer, who, due to circumstances, is not familiar to the general public. The work explores a wide range of stylistic features of the composer’s music and the infl uence of the contemporary composers’ styles, often very contradictory, on his work. Golovanov’s legacy is explored within the framework of the synthesis of the Russian classical tradition and modernist movements of the early 20th century. The principles of choosing a poetic basis and the genre sphere of their implementation are studied.

Синтез жанровых традиций в романе Юза Алешковского «Кенгуру»

The article is devoted to the analysis of the novel “Kangaroo” by Yuz Aleshkovsky, the largest representative of the “third wave” of Russian emigration, in the context of the traditions of Russian literature, which is explained by the need to identify the key features of the poetics of the writer’s early work, which would largely determine his subsequent writings. The aim of the study is to reveal the specificity of the synthesis of genre traditions in the novel by Yuz Aleshkovsky. The scientific novelty of our work consists in the fact that for the first time in “Kangaroo”, the elements of dystopia, satire, the picaresque novel, and diatribe are revealed and holistically comprehended. As a result, the intertextual connections of “Kangaroo” with “Tarakanishche” by K. I. Chukovsky, “Heart of a Dog” by M. A. Bulgakov, the poem “Kangaroo” by N. S. Gumilev, “1984” by G. Orwell were revealed. It is established that the fragmentary structure of the novel is subordinated to the system of motifs (dystopian and absurdist motifs, the motif of “reversing”) and is built with reliance on the elements of carnival poetics (the trickster as the protagonist passing through a series of miraculous and provocative situations; images of “material-bodily bottom” opposing the “official” culture; carnivalization of the plot and the very process of narration; the use of substandard vocabulary).

Synthesis of Eastern And Western Cultural Traditions in the Work of Sergey Slonimsky (Using the Example of the Vocal Cycle “Nadira’s Gazelle”)

The article is devoted to the problem of interaction between the cultures of East and West, examined using the example of the work of the St. Petersburg composer S. M. Slonimsky and his vocal cycle “Gazelles of Nadira”. The article highlights the contribution of the Uzbek poetess of the 19th century to culture, the features of her poetic style that influenced the concept and musical style of Slonimsky’s romances. The conclusion is made about the organic synthesis in music of the vocal cycle of the oriental style, typical of the musical culture of the 19th century, with the modern vocabulary of the master of the 20th–21st centuries.

Суспільно-політичні та духовно-культурні передумови поширення бароко на українських землях

Background. The Baroque era, which is characterized by its grandeur, dramatic color and exquisite ornamentation, left a bright mark on Ukrainian lands. However, the spread of Baroque architecture, art and culture was not only a stylistic phenomenon; it was deeply intertwined with the contemporary social-political and spiritual-cultural development. Understanding the deep factors that contributed to the spread of Baroque in Ukrainian territories requires the study of the multifaceted dynamics that shaped the culture of this era. Methods. A systematic review of the literature related to the Ukrainian Baroque in order to collect and generalize the existing knowledge about this period. Comparative analysis, comparing Ukrainian baroque with other national baroque schools and highlighting common and unique features. Results. It is revealed and outlined that the Ukrainian Baroque is an important period in the cultural history of the country, which combines national and pan-European influences, religious and social aspects, as well as the interaction of various cultural currents. Reflecting the diversity and complexity of Ukrainian society and its cultural traditions. Conclusions. The spread of baroque in Ukrainian lands was not a monolithic phenomenon, but a complex interaction of socio-political, religious and cultural factors. The adoption of Baroque aesthetics served many purposes, including the assertion of political power, the expression of religious piety, and the cultivation of cultural identity. Ukrainian Baroque appeared as a dynamic synthesis of local traditions and external influences, personifying the richness and diversity of the region's historical and cultural heritage

Decolonizing Performance: Wole Soyinka’s Synthesis of Theatrical Traditions in Death and the King’s Horseman

Decolonizing Performance: Wole Soyinka’s Synthesis of Theatrical Traditions in Death and the King’s Horseman

Cyberfeminism in Iran

Modern Iranian women face completely new challenges in the "Information Age" (Castells). The growing development of information technologies has opened up a wide area for female activists both internationally and regionally. This is the era where they can create a completely new identity through the influence of modern technology with the synthesis of tradition and modernity as a mean of struggle against religious dogmas and defending women’s rights. The nascent stages of Iranian Cyberfeminism are traceable to the early 2000s, with the inception of women-oriented websites such as "Zanan-e Iran" in 2000 and the establishment of the first feminist website, "Trubun-e Zanan," in 2002 under the auspices of the Women Cultural Centre. In the history of Iranian cyberfeminism, the most flexible and relaxed period coincides with the presidency of the relatively liberal Hassan Rouhani. However, questions persisted regarding the mobilization and unification of masses online in a country where the Internet and social networks faced periodic, varying levels of censorship to mitigate perceived Western influences. The events surrounding the death of Mahsa Amini in 2022 altered the Iranian socio-political landscape, catalyzing large-scale protests and prompting a reevaluation of cyberfeminist efficacy in the physical realm. The mass protests of 2022-23 significantly reduced internet censorship in Iran, challenging the conventional notion of cyberfeminism. But as Mehrangiz Kar, the human rights defender and activist, says: “Iran is a paradoxical country. It creates roles under the veil of dictatorship and then suddenly appears on a big stage.” To conclude, Iran stands out in the Middle East with a rich history of women's movements that have evolved authentically from secular feminism to Islamic feminism and, more recently, cyberfeminism. The Iranian interpretation of cyberfeminism deviates from Western norms, representing a symbolic demand for freedom from compulsory hijab and an assertion of women's equality under Islamic dictatorial rule. The future trajectory of cyberfeminism in Iran and its potential impact remain contingent upon ongoing developments and the dynamic socio-political landscape.

Ivan Vitsko: A Well-Known Ukrainian Innovator of Porcelain Shaping and Decorating

During the second half of the 20th century, art ceramics in Ukraine is characterized by a synthesis of tradition and innovative technological achievements. It was determined that during the period of rapid political and socio-cultural changes, the transformations of decorative and applied art, in particular the art of ceramics, occurred. Ivan Mykhailovych Vitsko was one of the key personalities enriching Ukrainian porcelain. Investigating his cultural heritage and his experiments in the production of porcelain attests the relevance of the issue. Among the main achievements of I. Vitsko are the use of improved and completely new techniques of decorating with underglaze salts, “crackle” with gold, gray chandelier of the “crackle” type, the introduction of complex decals with the use of gold raised the works of this master to a new level of quality. It was established that the artist performed his works based on the achievements of European porcelain manufacturers, looked up to local traditions of ornamentation, and successfully synthesized the aesthetic characteristics of the products and their functional potential. It was determined that the author’s innovative works include a tea set (1958), a tea and coffee set “Baranivka-58” (1958), the sets “Sunflowers” (1959), “Golden” (1976), the set for galushky “Traditional” (1967, 1972), the set of teapots “Sofia of Kyiv” (1980, 1981, 1982), and vases (1967–1982). The aim of the paper is to reveal the non-trivial technological and artistic features of the works of Ivan Mykhailovych Vitsko, created in the 1950s–1980s, and to determine the influence of his work on the general level of development of Ukrainian ceramic art.

H. Maiboroda National Honoured Bandura Choir of Ukraine: History of Functioning and Priority Principles of Creativity

The purpose of the article is to identify the leading trends in the activity of one of the oldest professional creative teams – the H. Maiboroda National Honoured Bandura Choir of Ukraine in the context of the development of academic folk vocal and instrumental art. The research methodology is determined by general philosophical, dialectical and historical principles, systematic and comparative approaches, as well as special musicological methods for the study of bandura instruments, concert and touring activities, repertoire formation trends, and personological aspects of musical creativity. The scientific novelty of the article is a systematic analysis of the creative activity of the H. Maiboroda National Honoured Bandura Choir through the prism of academicisation of folk vocal and instrumental art, development of ensemble bandura performance, selection and optimisation of bandura instruments, formation of repertoire principles, contribution of leading directors and conductors of the band to its professional formation, cooperation with composers and soloists, and the thematic principle in organising concert and touring programmes. Conclusions. The H. Maiboroda National Honoured Bandura Choir of Ukraine is a unique collective with a rich history, accumulation and synthesis of both folk music traditions – kobzarism and academic choral traditions. More than a century of the choir's functioning has become an expression of the cultural peculiarities of the time periods of bandura creativity and performance: at the level of improving the instrumentation, involving other folk and academic instruments in banduras, selecting male voices, choosing the texture of choral singing and instrumental playing, genre and thematic directions of the repertoire, collaborating with soloists and conductors, and a wide geography of concert and touring activities. The priority directions of the repertoire of the choir are folklore samples in a cappella and vocal-instrumental representation and composer's elaboration, original works and arrangements of Ukrainian and foreign composers, covering historical, Cossack, lyrical, humorous, riflemen's songs, Shevchenko's songs, UPA songs, and modern patriotic works.
 Keywords: bandura art, folk vocal and instrumental art, collective folk and instrumental art, bandura ensemble, bandura chapel, academisation, repertoire, composers' works, concert activity.

Rustem Yakhin. Music for children: on the question of the embodiment of the national

The article reviews the children’s music of the outstanding Tatar composer Rustem Yakhin. Three piano cycles (“Three Pieces”, “Pictures of Nature”, “Summer Evenings”), individual children’s pieces and arrangements of folk songs are analysed. A characteristic feature of Yakhin’s work is the synthesis of European traditions with elements of Tatar musical folklore. The characteristics of the implementation of the national style in children’s music are considered. The originality of the melodic, rhythmic and harmonic structures chosen by the composer is emphasized.

Silk paintings in the works of modern Chinese artists as a synthesis of traditions and innovations

In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work.

Https://www.elibrary.ru/item.asp?id=50463761

The article deals with the issues of the modern piano repertoire of the outstanding composer Chu Wanhua. The author of the article dwells on the issues of combining traditions and innovations in his piano compositions. The folklore tradition occupies the most important place in his work. The author of the article says that the problem of the relationship between the composer and folklore is becoming more acute and relevant today. Also, as early as the 1960s, Chinese composers began to actively study and use modern writing techniques, such as atonality, twelve-tone technique, experimental avant-garde, etc. The rejection of the traditional foundations of the musical language, combined with at least some tangible elements of folklore material, made it possible for the listener to identify the musical content of the work. Despite the complex musical language and techniques, such works made it possible to associate them with one or another national tradition. The piano work of the Chinese contemporary composer Chu Wanhua in a special way reveals the synthesis of traditions and innovations in music.

Liberatory Linguistics

Abstract While the college population in the United States is becoming increasingly diverse, few studies focus on the goal of linguistic justice in higher education teaching and learning-a critical factor in achieving all forms of social equity. I offer liberatory linguistics as a productive, unifying framework for the scholarship that will advance strategies for attaining linguistic justice. Emerging from the synthesis of various lived experiences, academic traditions, and methodological approaches, I illustrate how a structural ignorance of language justice affects the lived experiences of people across the world. I present findings from my work with Black undergraduates, graduate students, postdoctoral scholars, and faculty members as they endeavor to embed a justice framework throughout the study of language broadly conceived. I conclude by highlighting promising strategies that can improve current approaches to engaging with structural realities that impede linguistic justice.

Residential architecture of the last quarter of the 18th century in Astrakhan

Some residential buildings and households dating to the last quarter of the 18th century in Astrakhan gave been studied based on a comprehensive analysis of bibliographic, archival and graphic materials. The historical context of the change in private housing construction is outlined, and samples of vernacular and professional architecture are identified. The creative method of the architect A.P. Digbi is summarized based on the characteristic solutions developed for the houses of rich merchants and eminent citizens of Astrakhan. The study revealed a harmonious synthesis of local traditions and the influence of the pan-European achievements in the field of architecture and transformation of classical forms.

7-е правило III вселенского собора: его история и рецепция в контексте вопроса о неизменяемости Символа веры

This publication discusses the history of the origin and reception of the definition of the Third Ecumenical Council on the Creed. This definition, drawn up in connection with the rejection of the statement of faith by Theodore of Mopsuestia, should, according to the plan of St. Cyril of Alexandria, to secure the Nicene Creed the status of the only symbolic text used in Baptism and the admission of heretics into church fellowship. The author shows that, although this rule was drawn up at the Council, it did not receive official approval and was not solemnly promulgated. In this regard, it did not enjoy authority in the Churches of Asia Minor and the Syrian region, where the forms of the Symbol, close to the modern Constantinople Creed, dominated. The article proves that at the Council of Chalcedon (451) a synthesis of various local traditions regarding the practice of reading the Creed was made: the so-called “Statement of the faith of 150 fathers”, traditionally associated with the Council of Constantinople in 381, received universal authority and began to be considered an authentic form of expression of the “Nicene faith”. To both versions of the text, which were henceforth considered one Creed, the Council attached the wording of the Ephesian ban on changing the Creed. At the same time, the concept of the immutability of the "catholic faith" in content was separated from the immutability of the Symbol by letter, with the possible emergence of new formulas (the latter should not have claimed the status of “symbols”). This idea relatively quickly received a reception in the East. In the West, the recognition of the Constantinople version of the text of the Symbol as authoritative occurs only in the 6th century, and initially in Rome. The Roman bishops, on the other hand, held for the longest time the literal inviolability of the Creed, even after the spread of the Filioque in the Latin West.