Terms Of Style Research Articles

Abū Bakr Al-Warrāq Al-Tirmidhī: Sources and Early Conclusions

The main purpose of the study is to shed light on the life and work of Abū Bakr al-Warrāq Muḥammad b. ʿUmar al-Ḥakīm al-Tirmidhī and to show that he is a great scientist and thinker who has a place in the Islamic world, and to form scientifically based conclusions using original sources while covering the topic RESEARCH METHODOLOGY In the study, logical consistency was observed in the coverage of the life and work of Abū Bakr al-Warrāq al-Tirmidhī. Also, original sources and scientific studies on the subject were involved, and the information in them was analyzed in a mutual comparison. RESEARCH RESULT It was determined that Abū Bakr al-Warrāq al-Tirmidhī was one of the persons who held an important place in the history of Islamic thought, and it was proved that the scholar was a follower of the Tirmidhi school in terms of style, as a follower of Hakim Tirmidhi, and that he was a major person who directly influenced the Islamic environment of Transoxiana both in the direction of Sufism and in the direction of the knowledge of the word through Abul Qasim Hakim Samarkandi. In Transoxiana, the concepts of “wisdom” and “judgement” and the principles of succession were analyzed for the first time. Evidence was given that the scientist's works were spread and valued throughout the Islamic world. Conclusions were made about the views of Warraq Tirmidhi directly based on the work “Al-Olim wal-muta’allim” (The Master and the Disciple) written by the scientist. Based on all this, it was concluded that it is necessary to carry out large-scale research on the scientist's activity.

Okunev Statues at Mount Uitag, Khakassia

This article presents two new steles discovered in 2021 during rescue archaeological works in the Askizsky District of the Republic of Khakassia. Both steles were part of Tagar funerary enclosures. One is a slab of Devonian sandstone with an anthropomorphic mask on its broad side. It was adjacent to the southern wall of the enclosure at Skalnaya-6 mound 1. Only the outline of the head in the chin region has been preserved, as well as the mouth, modeled as a depression, and three transverse lines Ьetween the nose and the mouth. The other stele, made of red sandstone, Ьears a human-like profile in the lower part, carved on the edge and extending to lateral sides. This stele, unusually well preserved, was part of the northern wall of the enclosure of Uitag-3 mound 5. The article describes and interprets this laconic, realistic image of a "male shaman" wearing a three-eyed animal mask and high headgear. The two Uitag slaЬs differ in the placement of the face (on the broad side in one case, and on the lateral sides in the other). However, the pecking technique and the method of rendering the facial features are the same. The general stylistic manner makes it possible to attribute Ьoth artifacts to a single cultural and chronological horizon-that of the Early 0kunev culture. None of the sculptures has exact matches, but in terms of style, composition, and semantics they resemble those with realistic images in relief extending from one side of the slab to another. The fragment of the statue from Uitag-3 mound 5 is the earliest realistic representation of a mask, which can possibly be used as a reference for researchers.

ARTISTIC LIKES AND AESTHETIC ORIENTATIONS IN THE WORKS OF KOSTY GORDIENKA “PRO COMMUNE”

The research focuses on the fact that showing the destruction of the patriarchal world of the Ukrainian village as a heroic struggle between light and darkness, a tragic past and a happy future, transferred to the plan of the present time, glorification of the economic and social innovations of the Bolsheviks, related to collective farming, determines the general thematic dominant in literature of a socialist orientation. The article focuses on the fact that forced to adapt to the format of the then government, Kost Gordienko changes his artistic preferences and aesthetic orientations, but also masters the methods of developing ideologically oriented prose that corresponded to the voluntarist intentions of revolutionary culture. It is emphasized that Kostya Gordienko’s attention is focused on the problem of the Ukrainian village during the period of drastic social changes, on the topic of the land-nurture and its owners, which was understandable and close to the writer due to many objective reasons. In the picture of the world modeled by Kost Gordienko, the concrete and realistic representation of the Ukrainian village during the period of Soviet “reformation” is fundamental, hence the noticeable stylistic, plot and figurative homogeneity. It is indicated that in order to realize his creative intentions, the novelist uses essay genres, which gave a much larger space for reproducing the dynamics and panorama of the “new time”, for depicting the actual everyday life of “communist life”. The stylistic manner of the writer has a narrative-journalistic and artistic-informative character, characterized by the use of extensive factual material. The conclusions indicate that Kostya Gordienko’s works of 1928–1930, which are diverse in terms of style and poetics, demonstrate the process of the writer’s adaptation to political and ideological requirements: first, the combination of an individual artistic vision and defined political attitudes, then the subordination of artistic thinking to the dictates of power. The most popular small-format genres – essays and short stories – are focused on reproducing the dynamics and panorama of the “new time”.

일본의 대표적 현대 그래픽디자이너의 표현 특성과 미의식의 재조명

This study re-examined the expression characteristics and aesthetic consciousness of Yusaku Kamekura, Ikko Tanaka, Shikeo Fukuda, Tadanori Yokoo, and Hara Kenya, representative Japanese graphic designers who have attracted the attention of the world's design industry from the 1960s to the present. In particular, the first-generation designer after World War II, Yusaku Kamekura has received worldwide attention by expressing the sun of the Japanese flag in a simple circle for the 1964 Tokyo Olympics poster, and Ikko Tanaka expressed the traditional theme simply and clearly at Nihonbuyo. While the posters of Kamekura and Tanaka expressed traditional materials in a simple and clear way from a modern perspective, Shigeo Fukuda's posters showed a modern expression trend that maximized the effect of optical illusions. Tadanori Yokoo used traditional Japanese materials in poster design and simultaneously expressed pop art and psychedelic expressions that deviated from Western modernism. Finally, Hara Kenya is actively realizing the design of blank space with the aesthetics of emptiness. The source of such modern graphic design in Japan can be ideologically pointed out as the Buddhist ideology of emptiness and Zen, Wabi & Sabi, Shutaku, Reductionism, and in terms of style, Ukiyoe, Linpa, Western modernism. Modern Japanese graphic design, which forms the mainstream with simple forms, abstract shapes, and simple colors, sought to harmonize and balance its unique cultural identity and global universality, and designers reflected their own formative language in their work. It can be said that it is a tendency of Japanese designers to express the harmony of Japanese traditional culture and Western modernism amid the trend of modernism. This aspect can be seen as a reflection of the perception of the design world to visualize Japan's modern image as an economic and a cultural power at the same time. In particular, the poster of 5 people reflected cultural traditions and aesthetic consciousness, while re-examining the glocal Hwahonyangjae of Japanese modern graphic design that aims for universal design at the same time. In particular, in the area of graphic design, where alphabetic culture design is the mainstream, Japanese design uses Chinese characters, hirakana, and katakana, forming a unique Japanese style graphic design foundation that is highly recognized worldwide. It is expected to contribute to the spread of K-Design's external awareness along with an opportunity to examine the universality and differences inherent in Korean, Chinese, and Japanese philosophies and aesthetics through a study on the expression characteristics and aesthetic consciousness of Japanese modern graphic design.

Influencias temáticas y simbólicas de Borges en Ajuar funerario y otras obras de Fernando Iwasaki

Fantastical elements are very common in the literature of Fernando Iwasaki. As a historian, and also a Peruvian, he has drawn on elements of Inca culture and mythology, and also Peruvian folklore. Although strongly influenced by Cortázar, Poe and Lovecraft , in terms of style, themes, topoi and poetics, Iwasaki is also indebted to the works of Jorge Luis Borges. Indeed, the aim of the article is to analyze the main Borgian influences present in Iwasaki’s works with a particular focus on his book Ajuar funerario (2004).

How Partisanship Matters: A Panel Study on the Democratic Outcomes of Perceived Dirty Campaigning

Uncivil campaigning and deceitful campaign techniques are increasingly relevant phenomena in politics. However, it remains unclear how they share an underlying component and how partisanship can influence their associations with democratic outcomes. We introduce the concept of dirty campaigning, which is situated at the intersection of research on negative campaigning and political scandals. Dirty campaigning involves violations of social norms and liberal-democratic values between elite political actors in terms of style and practices, such as uncivil campaigning and deceitful campaign techniques. In a two-wave panel study (<em>N</em> = 634) during the 2021 German federal election campaign, we investigate the associations of perceived dirty campaigning by the least and most favorite party with distrust in politicians, trust in democracy, attitudes toward dirty campaigning regulation, as well as perceived harmful consequences of dirty campaigning for democracy. We find that perceived dirty campaigning by the least favorite party increases perceptions of harmful consequences of dirty campaigning for democracy over time. In contrast, perceived dirty campaigning by the most favorite party decreases perceptions of harmful consequences of dirty campaigning for democracy as well as attitudes toward dirty campaigning regulation over time. Perceptions of harmful consequences of dirty campaigning for democracy increase distrust in politicians over time and vice versa. Our findings suggest that the outcomes of dirty campaigning can depend on partisanship and can have important implications for the quality of democracy.

AN ANALYSIS OF TWO ENGLISH VERSIONS OF TUNE: CHOU NU ER WRITTEN ON THE WALL ON MY WAY TO BOSHAN FROM THE PERSPECTIVE OF FUNCTIONAL EQUIVALENCE THEORY

Song Ci is a treasure in the history of Chinese classical literature. As one of the representative works of Song Ci by Xin Qiji, a bold and unconstrained poet, Tune: Chou Nu Er Written on the Wall on My Way to Boshan has been favored by many translators at home and abroad, and there are many English versions in existence. The translation theory of "Functional Equivalence" points out that "Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style". Translation contains not only lexical equivalence, but also semantic equivalence, stylistic equivalence, and conveys superficial lexical information and deep cultural information. Poetry stands on the beauty of sound, meaning and form, and also has a great cultural connotation. Therefore, it is necessary to convey the source language information and reproduce the cultural connotation in translation. Based on this, this paper takes two English versions of Tune: Chou Nu Er Written on the Wall on My Way to Boshan as the research object, analyzes the functional equivalence in poetry translation from three aspects: meaning, sound and form, and discusses the guiding significance and rationality of functional equivalence theory in the translation of Song Ci.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0591/a.php" alt="Hit counter" /></p>

The influence of Japanese Ukiyo-e on Western painting art in the 19th Century

Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

Stilistika dan Al-Qur’an: Fenomena Budaya Uslûbiyah Bangsa Arab

This paper discusses the correlation of modern linguistics with the linguistics contained in the Al-Qur'an, then explains the phenomenon of Arabic language style which has become a culture, either before or after the Al-Qur'an was revealed, and finally describes how the influence of language literature Al-Quran on the uslûbiyah culture of the Arab nation. The explanation in this paper is in the form of descriptive which relies on explanations from the literature in accordance with the theme so that the method of analysis that is appropriate to this theme is descriptive-analytic, this method also includes qualitative research based on library research (library research). The results of the discussion of this article conclude that stylistics is a Western language discipline that has an equivalent to uslûbiyah science. Uslûbiyah is a separate scientific discipline which is formed from the science of Balaghah and has a central function with other linguistics. The Qur'an, which is a source of uslûbiyah (stylistic) studies, greatly influenced the rhetorical style of the Arab nation after it was revealed to the Prophet Muhammad, especially in terms of style, content, and purpose.

The Evaluation of Repairs Executed in Beyşehir Eşrefoğlu Mosque in Consideration of IIWC 2017 Principles

Türkiye’de ahşap mimarlık mirası, tarz ve teknik olarak çok çeşitlilik göstermektedir. Geçmişi 13. yüzyıla kadar uzanan ve daha çok İç Anadolu Bölgesi’nde bulunan geleneksel ahşap direkli camiler, Türk mimarlık tarihi açısından büyük bir öneme sahip olmalarına rağmen, ayrıntılı araştırmalara konu olmamıştır. Bu kapsamda, Türkiye’deki en büyük ve en eski ahşap direkli cami olarak kabul edilen Beyşehir Eşrefoğlu Camii örnek yapı olarak seçilmiştir. 13. yüzyılın sonlarında inşa edilen cami, hem yapım tekniğinin detayları, hem de uzun tarihi boyunca uygulanan onarım çalışmaları sayesinde özgünlüğünü büyük ölçüde koruyarak sağlam bir biçimde günümüze ulaşmıştır. Bu çalışmada, öncelikle, ahşap mimarlık mirasının incelenmesi için bir metodoloji önerilmiştir. Bu makalede metodoloji kapsamında yer alan analizlerden biri ele alınarak, yapıda farklı dönemlerde gerçekleştirilen onarım çalışmalarının saptanıp değerlendirilmesi amaçlanmaktadır. Değerlendirme kriteri olarak, uluslararası kabul görmüş ve uygulanması tavsiye edilen ICOMOS Ahşap Komitesi’nin 2017’de yayınlanan ilkeleri baz alınmıştır. Bu ilkeler göz önünde bulundurularak onarım tarihinin incelenmesi ve saptanan farklı dönemler, aynı zamanda koruma yaklaşımlarına ilişkin değişen algı ve tutumları da göstermektedir. Değerlendirme sonuçları, hangi dönemdeki uygulamaların başarılı, hangilerinin başarısız olduğunu ve bunun altında yatan sebepleri göz önüne sermektedir. Onarım tarihi ve yapılan uygulamaların, güncel kriterler ışığında değerlendirilmesi geleneksel koruma tekniklerinin tespitinde kullanılabileceği gibi, onarım tarihinin koruma kararları alınırken daha kapsamlı incelenmesi daha başarılı onarım sonuçları elde edilmesine büyük katkı sağlayacaktır.

Fraseological Units in English Discourse of Mass Media: Functional-Linguistic Analysis

This article is devoted to the study of the way phraseological units function in the English mass-media discourse. The choice of English-language journalistic texts as the object of the study is due to their prevalence and significance in the global information environment, the widespread use of phraseological units and idiomatic vocabulary in the media, as well as the significant pragmatic potential and multifunctionality of English-language phraseological units, which make up the arsenal of means for journalists to perform their key professional tasks. Based on the analysis of modern theoretical sources, the article investigates the issues of the functional and pragmatic nature of phraseological units, while specific empirical material of English-language media illustrates the selected functions of phraseolog- ical units, considered in their relation to the functions of media texts. The study also provides the functional analysis of the problems and features of the use of phraseological units. In addition, the author pays special attention to the connection of English-language phraseological units with the linguocultural worldview of native speakers, as well as the main characteristic features of the journalistic style of speech. The study confirms that most phraseological units are aimed at performing several tasks simultaneously within one text. Their use allows the producer of the mass-media discourse to bring the media text closer to the work of art in terms of style and language, providing it with emotional and evaluational information, to make the text more fascinating for the reader, to succinctly and convincingly express the thoughts and emotions of the journalist in relation to the subject described, as well as to convey various elements of a certain nation’s culture to the recipient.

Şeyhülislam Yahya Divanı’ndaki Takrirî İstifham İfadelerinin Anlam ve Üslup Açısından İncelenmesi

Şeyhülislam Yahya klasik şiirimizin en önemli temsilcilerinden biridir. O, klasik tarzda yazdığı şiirlerinde sade ve fasih bir dil kullanmış, söz sanatlarına çok fazla rağbet etmeden sözünü daha doğal ve Türkçenin yapısına daha uygun farklı tasarruflarla etkili kılmaya çalışmıştır. Bu tasarruflardan birisi de şiirdeki inşa (tasarlama) ifadelerinin fazlaca kullanılmasıdır. Gerek dil bilgisi gerek belagat kitaplarında söz, temel olarak haber (bildirme) ve inşa (tasarlama) olarak ikiye ayrılmaktadır. Belagat ilmine göre inşanın kısımlarından olan istifham da Şeyhülislam Yahya’nın şiirlerinde bir üslup ve sanat unsuru olarak karşımıza çıkmaktadır. Üslubun ve edanın muhtevadan çoğu kez daha önde olduğu klasik Türk şiirinde her türlü dil kullanımının ayrıntılı bir biçimde tahlil edilmesi önem arz etmektedir. Bu çalışmada Şeyhülislam Yahya Divanı’nda geçen bütün takrirî istifhamlar bu düşünceyle anlam açısından tasnife tabi tutulacak ve üslup, şiirsellik ve sözün tesiri noktasında bu soruların ifadeye kattığı değerler incelenecektir. Bahsi geçen bu sorular cevap alma isteği ile sorulmuş gerçek sorular değildir. Nihayetinde kurmaca bir metin olan şiir dilinde bu tür mecazi/retorik soruların anlam ve amacının tespiti, dilin diğer kullanım alanlarında ortaya çıkan soruların anlam ve amacını tespitten daha zordur. Bu sebeple çalışmada belagat kitaplarındaki müktesebat ile klasik şiirin kendine özgü dili ve kavram dünyası mezcedilerek daha sağlıklı sonuçlara ulaşılmaya çalışılmıştır.

ACCORDING TO THE WORKS FAMOUS NESEB-NÂME-İ MÜLÜK (ŞUÂB-I PENCGANE) AND MU‘İZZÜ’L ENSÂB, THE WIFES OF ÖGEDEY KHAN AND ÇAĞATAY KHAN

Neseb-nâmeler, Arapça, Farsça ve Türkçeden oluşan tarihin en zengin kaynaklarından biridir. Türk ve Moğol tarihinde de neseb-nâmeler kıymetli bir yere sahiptir. Bu bağlamda İlhanlı (İran Moğolları) veziri Reşidüddin Fazlullah tarafından kaleme alınan Neseb-nâme-i Mülük veya diğer adıyla Şuâb-ı Pencgane olarak bilinen eser, Moğolların şeceresi hakkında derli toplu bilgi vermektedir. Bunun yanında Timurlu hükümdarı Şahruh Mirza’nın isteği üzerine 830/1426-27 yılında kaleme alınmaya başlanan ve yazarı bilinmeyen Mu‘izzü’l Ensâb fî Şeceretü’l Ensâb-ı Selâtin-i Moğol adlı eser de Reşidüddin Fazlullah’ın eserinden istifade ederek Moğolların şeceresini aktarmıştır. Bu eser genel olarak Neseb-nâme-i Mülûk’ün Gazan Han dönemine kadar verdiği bilgileri aynen kaydetmiştir. Gazan Han’dan sonra gelen Sultan Olcaytû ve Ebu Said Han’ın şecereleri de Mu‘izzü’l Ensâb’a eklenmiştir. Mu‘izzü’l Ensâb’da Moğol (İlhanlı) bahsinden sonra Timur ve oğulları bahsi başlayıp, eser Sultan Hüseyin Baykara’nın şeceresi ile sona ermektedir. Anonim Mu‘izzü’l Ensâb ve Reşidüddin Fazlullah’ın Neseb-nâme-i Mülük adlı eseri biçimi, yani tertip tarzı olarak neredeyse aynıdır. Biçim veya şekil olarak aralarındaki en dikkat çekici fark ise Neseb-nâme-i Mülük’de satır aralarındaki Uygur harfleriyle yazıların bulunmasıdır. Bu iki eser tarz bakımın birbirlerine çok benzemektedirler. Bu şecere kitaplarında sadece hanlar ve şehzadelerin isimleri kaydedilmemiş aynı zamanda hanların hatunları, kumaları, devlet kademesindeki görevlilerin isimleri de kaydedilmiştir. Bunun yanında yazmaların yanındaki der kenarlarda zaman zaman bilgiler bulunmaktadır. Bu iki eser bazı araştırmacılar tarafından biçim ve içerik açısından incelenmiş ancak eserdeki hatunlar hakkında çalışmalar yapılmamıştır. 
 Bu iki şecere kitabında kadınların isimlerinin kaydedilmesi Moğollarda kadının ne derecede ehemmiyete sahip olduğunu da göstermesi açısından önemlidir. Moğollarda baş hatun, kocasının yokluğunda evi ve çocukları idare edip ordanın işlerine bakmış ve buna bağlı olarak ehemmiyetli bir yer işgal etmiştir. Ayrıca Moğol hatunları merasimlere, ziyafetlere ve kurultaylara katılmışlar ve hanedan içindeki makamına göre hükümdarın, tahtın yanında yer almışlardır. Büyük önemi olan teşrifatta, şölenlerde, resmî törenlerde ve umumî ağırlamalarda, hatunların her birinin saygınlığı ve makamının gözetilmesine dair özel kural ve ölçü bulunmuştur. Bunun yanında Moğollarda hükümdar eşleri Moğol geleneklerinde çok eşliliğe bir sınır getirilmemiştir. Bu nedenle Moğollarda levirat ve sororat türü evliliklerin örneklerini görebilmemizde kaçınılmaz olmuştur. Moğollarda bu tür evlilikler yapılmasının hem sosyal hem ekonomik sebepleri bulunmaktadır. Cengiz Han’ın oğulları ve Moğol İmparatorluğu’nun varisleri Çağatay Han ve Ögedey Han da birçok evlilik gerçekleştirmişlerdir. Neseb-nâme-i Mülûk ve Mu‘izzü’l Ensâb’da bu iki hanın hatunlarının isimleri zikredilmekte ve bunlardan dünyaya gelen şehzadeler de kaydedilmektedir. Bu çalışmada Neseb-nâme-i Mülûk ve Mu‘izzü’l Ensâb adlı esere göre Ögedey Han ve Çağatay Han’ın hatunları adı geçen eserlerin sırasına göre ortaya çıkarılacak ve bu hatunların hayatı hakkında bilgiler verilecektir. Böylece bu çalışmayla Ögedey Han ve Çağatay Han’ın hatunları ve çocukları hakkında derli toplu bilgi elde edilecektir.

Polish chamber music featuring harpsichord of the 20th and 21st century

This paper presents the history of the Polish chamber music featuring harpsichord, composed in the years 1933–2021. The author outlines the profiles of the female artists who influenced the development of harpsichord art in Poland, including: Wanda Landowska, who brought harpsichord back to concert halls of the 20th century, Emma Altberg, whose contribution led to the establishment of the harpsichord class within academic education, and Elżbieta Chojnacka, whose work inspired composers to write new pieces for this instrument in a way hitherto unknown, which contributed to the development of a new, original technique of playing harpsichord. The author attempts to characterise the Polish harpsichord music in terms of style and compositional techniques, and provides examples of compositions which feature this instrument.

Rewriting of Poetry: A Case Study of the Translation of Yideum Kim’s Hysteria

Translation of contemporary Korean poetry, especially by female poets, has not yet been widely studied. This paper seeks to analyze how feminist poetry by a Korean female poet is translated or rewritten by a Western translator from the perspectives of structural style and tenor, including mood and appraisal. The text is the award-winning book, 『히스테리아』 by Yideum Kim and its English translation Hysteria, which was translated by a group of translators including Jake Levine. This study compares the ST and the TT to identify differences between them, and conducts an interview with Levine to explore the reasons behind these differences. In terms of style, the translators recreate the structure of the original by dividing stanzas, splitting lines, adding punctuation, and applying capitalization and italicization. With regard to tenor, the translators manipulate the relationship between speakers, increase the intensity and certainty of expressions, and often use terms indicating negative attitudes toward women, including derogatory expletives. They also delete feminine characteristics from the poems on many occasions. The interview with translator Levine reveals that, firstly, such strategies are based on their own creative choices, and linguistic transfer is not their priority; secondly, that they actively engage in rewriting out of respect for the author the desire to create poetry which is as good in English as it is in Korean; and thirdly, that there was a specific request from this particular book’s editors to make the poetry very strong and masculine. This study is especially meaningful because it identifies reasons underlying specific translation strategies directly from one of the translators.

FORMATION OF RAILWAY STATION BUILDINGS ARCHITECTURE OF RAILWAY LVIV – SIANKY

On the basis of the imperial (1873/1903–1918), interwar (1919/1921–1939), soviet (1945–1991) and modern (since 1991) historical periods of Ukraine, the development of the architecture of railway buildings and other passenger structures of the railway branch Lviv - Sianky in the main functional, spatial, structural and artistic properties isstudied. All stations and stops of the studied line belong to the coastal type, have connections of landing platforms with station buildings and settlements in one ground level. The buildings of the Turka and Jasenyzia railway stations are the oldest, well-preserved and belong to the projects of the local Austrian group of the imperial period. The railway buildings of Komarno, Rudky, StaryiSambir, Strilky, as well as Boykivska, Vankovytchi, Yavora are unique in their characteristic silhouette and roof shape and can be found only on the Lviv - Sianky railway. In terms of style and composition, they reflect the then vision of the architecture of public buildings, as well as contain links and support the image of the former village houses of Boykivshchyna (Boykos Land). The trend in the formation of architecture of buildings and structures of Lviv - Sianky railway stations in general is due to changes in the scale of construction and methods of passenger service from the originally majestic two-story station buildings at stations with passenger, service and residential functions (in the imperial, interwar periods). buildings with ticket offices and waiting rooms (in the early Soviet period), - to serial metal structures of open waiting rooms at landing platforms (stops) with techniques and means of industrial design (in the late Soviet, modern periods).

Garment Design Models Combining Bayesian Classifier and Decision Tree Algorithm.

With the rapid economic development and rising consumption levels in recent years, people are becoming more and more demanding in terms of style and fashion of clothes. As a result, customer demand for personalised clothing is increasing and the need to respond quickly to consumer demands is also becoming a competitive issue for clothing companies. The automation and intelligence of the garment design and production process is an important part of the implementation of intelligent manufacturing in the garment industry and a necessary way to transform and upgrade the garment industry. Successful clothing styles always have a distinct style identity. The style of the garment can not only conveys the designer's vision but also express the emotional needs of the consumer. In contrast, traditional garment design involves only designers and a single style. With so many styles available, the user has only been able to combine them repeatedly and has not been able to create an innovative design. In addition, apparel design and product development is still a highly empirical task. To be specific, most apparel companies can only respond to a rapidly changing market by increasing the number of designers. However, this blind expansion of staff inevitably leads to increased production costs. As a result, how to effectively develop garment products without relying on the empirical knowledge of garment designers is one of the important issues in achieving intelligent manufacturing in garment enterprises. With the rapid development of computer and network technologies, artificial intelligence, machine learning, and expert systems are widely used in various industries. Nevertheless, the application of these advanced technologies in the field of garment design is still not deep enough. This is mainly due to the uncertainty and imprecision of garment design knowledge. Also, with the rapid development of the fashion industry and the arrival of the trend of personalisation, people's demand for clothing has gradually shifted from mass appeal in terms of comfort and aesthetics to personalisation in terms of self-polishing and temperament. The personalisation of clothing encompasses a wide range of preferences in terms of style and fit. The bottom-up design process and the relatively independent setup of functional modules in traditional clothing technology have prevented the different design levels from being interlinked. This does not reflect the composition of the garment elements in the process of forming features and makes it difficult to grasp the overall design state of the garment. Therefore, in order to address these above issues, this paper proposes a garment design model based on the Bayesian classifier and decision tree algorithm to investigate how computer technologies can be applied to model garment design knowledge. This model can enable inexperienced designers to develop garment products quickly and efficiently to meet the customisation needs of customers, thus enhancing the market competitiveness of garment enterprises.

Application of BP Neural Networks in Garment Pattern Design System.

With the intensification of global market competition and the continuous development of the information technology, competition in the apparel market has become increasingly fierce. The key to whether China's garment industry can maintain its advantage in the international market competition in the future lies in whether it can promote and realize the informatization of the garment industry or not. After all, under the context of increasingly developed information technologies and growing competition in the garment market, mass customization of garments has become a future trend in the garment industry. As custom-made clothing is more in line with consumers' individual needs in terms of style, fabric, and size, the focus of development for clothing companies is increasingly on the grasp of the fit of clothing. However, with China's large population and the wide variety of body types, traditional hand-made garments are time-consuming and cannot meet the differentiated needs of consumers in the modern market. The design of garment samples is an important part of the industrial production of garments and is highly dependent on the skills and experience of the operators. In other words, the level of technical expertise can determine the quality and shape of a garment product to a certain extent. As a result, in order to further improve the efficiency and quality of garment sample design and to reduce the dependence on operator skills and experience, this study proposes an intelligent garment paper sample design system based on BP neural networks. The system mainly utilizes the self-learning, self-organizing, and adaptive as well as nonlinear mapping functions of artificial neural networks to design clothing samples autonomously, thus improving the design efficiency. In the era of rapid development of information technology and artificial intelligence technology, the development of intelligent garment pattern design systems with independent intellectual property rights is of great significance in promoting the prosperity of the garment industry.

Ramón Gómez de la Serna’s greguerías: futurist aesthetics and the re-emergence of the fragment

Ramón Gómez is known for his innovative short form of prose poetry, denominated “Greguerías.” Greguería could be described best as a certain kind of aphorism, a one-liner comic joke; also similar to wordplay, and occasionally, to mini philosophical annotations on life. Furthermore, De la Serna is considered the father of the Greguería, since he used it for the very first time at the beginning of 1910. After its appearance, this literary form became very popular and spread as a rhetorical and stylistic device within Spanish and Latin American literature. The Greguería nurtures a cult for the image; specifically, a witty and surprising image. De la Serna’s literary preference was the avant-garde. His book Ismos (1931) is dedicated to this movement and it introduced a new term in Spanish dictionary. In it, he defends artistic autonomy and freedom of words. De la Serna found himself at a literary crossroads with regards to the literary currents of his time, but in terms of style, experimentation and narrative technique, the model he chose to work with in Greguerías is obviously very close to contemporary short-short stories.

Review: At Home in the World: California Women and the Postwar Environmental Movement, by Kathleen A. Cairns

Kathleen Cairns’s At Home in the World: California Women and the Postwar Environmental Movement is a good book that adds new names to the long list of engaged citizens trying to right environmental wrongs in the mid-twentieth century United States. The book’s intention is to highlight the political activism of a handful of white, middle-class and elite women working to preserve California’s unique ecosystems.The book begins with the 1950s activism of several prominent women who sought to clean Southern California’s air. The book then turns northward to San Francisco and Sylvia McLaughlin’s campaign to save the San Francisco Bay. The next two chapters similarly focus on activists who anchor the history of efforts to save two other ecosystems, the Nipomo Dunes and the Santa Monica Mountains, respectively. In each chapter, Cairns deftly illustrates the ways in which these women “knew how to play the game” of formal politics and how they mobilized their socioeconomic connections to powerful men to achieve their aims. There are interesting details about the strategies the women utilized (from knocking on doors to letter-writing campaigns to attending county planning meetings). The “feminine warriors” that Cairns describes were not overly radical or creative in their efforts, but they were mostly effective at achieving changes that would have long-term benefits on California’s ecosystems (both marine and land).Cairns doesn’t do much to connect the mid-twentieth century activism (strategies and even causes) to that of the Progressive Era female reformers, and that’s curious as these California warriors borrowed much from their foremothers in the songbird conservation and the National Park advocacy campaigns of a half century before. The book is highly accessible in terms of style and vocabulary and thus could be widely assigned to learners from high school through undergraduate college level in classes about environmentalism and even second-wave feminism. While Cairns admits her subjects are all well-connected women with plenty of access to time and resources, her analysis falls a bit short in places. She seems not to want to discuss the ways in which these women’s classed positions contributed mightily to the pollution and shrinking open space they abhorred. Despite some of the weaknesses of the book, however, the research is sound and the activists that Cairns’s work highlights deserve to be in the historical record and now they are.