Picture Of World Research Articles

Philosophical studies of the future in the context of postmodern knowledge: theory, methodology

The purpose of the article is to highlight the prospects of philosophy in the context of the post-scientific dimension and the formation of new cognitive and value constants of the scientific worldview. The goals of scientific research are focused on reconciling anthropo-bio- and (recently) technocentric concepts in a single philosophical paradigm of ecocentric orientation. With the help of the methods of the analytical cluster, a number of priority areas of the philosophy of the future are formed, in which the roles of humans, nature, and technology are clearly distinguished. The philosophical and methodological approaches define two strategies of interrelations of the key components of the world picture: confrontation (dialectical) and interaction (synergistic). The results of the study point out the need for a philosophical understanding of the problem of “nature” in the context of new socio-cultural conditions associated with the establishment of a post-scientific worldview. The authors propose a new format of interaction between human and natural dimensions, which will be guided by the values of responsibility while ensuring an appropriate level of cognitive activity (with an obvious impact of human activity on the natural world). An attempt to add an innovative technological element to the usual dichotomy of anthropocentrism and biocentrism should be considered a promising area of research into the post-scientific dimension of the philosophical worldview of the future. Thus, civilisational progress is expected to be characterised by transformational activity, which is intended to outline the guidelines for the coexistence of the main elements of the world order and to form an effective model of human-nature interaction. The philosophy of the future is associated with the ideological and mental support of civilisational progress and a picture of the world in which humans, nature, science, technology, religion, and other elements form a synergistic interaction of development and well-being.

Features of functioning of historical discourse in non-historical prose by Evgeny Vodolazkin

The works of E. Vodolazkin, who invariably refers to the historical past in his works, nevertheless defining his prose as “unhistorical”, allow us to raise the question of their specifics with regard to historical discourse functioning. Our analysis is based on E. Vodolazkin’s novels of the 2000s, starting with “Solovyov and Larionov” and up to the latest one – “Chagin”. The aim of the analysis is to consider the writer’s prose as an integral artistic system, which is based on his religious and moral concepts. It is established that in the “big” and “small” history, Vodolazkin is interested in the things that tend to be re-peated, that are somehow connected with the moral formation of a personality. The article explores the features of the embodiment of the idea characteristic for the writer: the priority of personal history over universal history, since only the former possesses a spiritual and moral purpose. We reveal the forms of artistic refraction of the spiral-shaped Christian model of time-eternity, formed in the Middle Ages, in Vodolazkin’s prose. From this perspective, we analyze the cross-cutting motifs, the principle of “similarities”, which organizes the system of images and determines the nature of intertextual connections, and the originality of the plot structure of his novels. The article proves that in the novels of Vodolazkin, the world picture is based on the combination of a “view from above”, which makes it possible to understand what is eternal and what is temporary, and a “close-up”, presenting simple phenomena of the earthly world in a stereoscopic image reminding of the eternal. The shift of the emphasis on the details of private existence, the importance of sensory perception of the world, most vividly embodied in the chapters devoted to childhood and found in all the writer’s novels, allows us to conclude that the features of the historical discourse functioning in Vodolazkin’s artistic system are determined by his appeal, so to speak on a new spiral turn, not only to the medieval concepts of time, but also to the experience of sentimentalism.

CONCEPT IVANUSHKA-DURACHOK: VALUE AND DYNAMIC ASPECT

In the article, the concept Ivanushka-durachok is considered as a national precedent name. The national-cultural significance of the concept is proved based on the opinion of predecessors. The deformations of the axiological paradigm of young Russian speakers are exemplified by this concept, modifications in its existence are fixed overtime. It is argued that the change in the semantics of the concept Ivanushka-durachok is explained by the development of the linguistic consciousness of native speakers over the past 40 years. In the course of the research, the psycholinguistic methods and the methods of corpus linguistics were used. The dynamics of the evaluative value of the precedent concept Ivanushka-durachok is indicated. It is concluded that the axiological and semantic potential of the concept Ivanushka-durachok and its name has been deformed. Its assessment vector in the linguistic consciousness of the student changed from positive to slightly negative. It was found that most of the preschoolers and some schoolchildren do not know the hero at all, do not have any associations with him, poorly represent his character traits, do not remember the fairy tales in which the character participates, do not reproduce the plot collisions associated with the hero, do not have a complete (and some even partial) understanding of the actions and characteristics of the hero and his antipodes, his environment. This is evidenced by the results of an associative experiment, according to which the hero is still recognizable as a fairy tale and folklore character inscribed in the schoolchild’s world picture. However, he is not attributed as invincible, disinterested, kind, trusting in the will of God, savvy, fearless, generous, highly moral. The hero is perceived primarily as intellectually limited, unkempt and unengaging. According to schoolchildren, the character is not suitable for personal friendship. The author considers the simplification and transformation of Ivanushka-durachok’s assessment to be a mutation of the cultural code. The change of axiological emphasis exemplified by Ivanushka-durachok is assessed as a diffusion of national-cultural idiosyncrasy, its unjustified debasement. The results of the analysis can help to correct the work with fairy-tale and folklore texts in kindergartens and elementary schools, be used in the teaching methods of literary reading.

ON THE QUESTION OF THE SPATIAL AND VOLUMETRIC POSSIBILITIES OF MONODY

The purpose of the article is to prove the unfoundedness of the characterization of monody as “one-dimensional” or “two-dimensional” and to refute the prevailing opinion about its limited, in comparison with polyphonic compositional creativity, abilities to model volumetric-spatial images. To achieve the goal, the author resorts to such a logical technique as comparison; draws on data obtained by fine arts and literary scholars and arrives at new results. Following the traditional path and hypothetically allowing, after predecessors, the possibility of comparing monody and ornament, the author examines different types of ornamental art and shows that even with this approach the similarity of monody with ornament cannot justify conclusions about its “one-dimensionality”. On the contrary, even such a comparison confirms that the linear nature of monody does not at all exclude the possibility of creating three-dimensional (volumetric) spatial images. Based on B. Rauschenbach’s discoveries, the author compares the perception of monody and polyphony of the European type with the perception of historically different systems of perspective in painting. The conclusion is drawn: from a scientific point of view, it is incorrect to characterise monody as “one-dimensional” (“two-dimensional”), polyphony as “three-dimensional”, to evaluate their ability to reflect the perception of this coordinate of the world picture, comparing the phonic images of space created by them, since monody and polyphony are phenomena of different stages, reflecting historically different ideas about space and functioning within the framework of different artistic and aesthetic systems.

Paremia with the word for the designation of natural phenomena in the terms of the naive picture of the ukrainian people's world.

The national spiritual treasures of the people include the language, which reflects its outlook, psychics, lifestyle, traditions, culture, rituals and beliefs - all that reproduces the soul of the people and determines the national mentality. The language finds verbal means of characterizing the most diverse phenomena of life, bright in content and form in paremias. Proverbs and sayings are the generalized memory of the people and the result of their observations of life and natural phenomena, which enables the younger generation to formulate views on ethics, morality, history and politics. The topicality of scientific research is determined by the need to study the linguistic specificity of paremiological units in the aspect of the textual organization of this genre as part of the spiritual culture of the Ukrainian nation, which preserves the memory of the people and observations of life and natural phenomena. The purpose of our article is to analyze the linguistic features of paremias with the reference word for nature, in particular, their semantic organization and thematic groups. The following methods and techniques of linguistic analysis are used in the article: system-functional analysis, component method, contextual-interpretive method, method of stylistic analysis. The scientific novelty of the research consists in deepening the knowledge about paremias, in the analysis of the semantic nature of proverbs and sayings, taking into account the means of artistic expression. Conclusions. The analyzed material proves that in the minds of our ancestors, each primary element corresponded to a certain element: water was associated with space, fire with soul, earth with time, air with wisdom. According to the semantics, we distinguished three groups of paremias with a reference word for the designation of nature: observation of nature; paremias with generalizing meaning; didactic paremias. However, paremias with a reference word for nature have different degrees of generalization. It has been studied that proverbs about the seasons are often used in their literal meaning, without subtext or excessive artistic imagery, but there are some that have several meanings. We see the perspective of further research in the analysis of communicative and pragmatic features of Ukrainian paremias.

Factual to Virtual Visualization

The purpose of this study is to explore the formation of image output in computer system from the user input information. The study seeks to answer the research question How does the image displayed on the computer screen and how appearance of image changed? The goal is to analyze transformation of real world picture to computerized output image in a very simple method by explaining all major components involved in this process in detail with diagrams. Further by using some mathematical concepts algorithms are derived and implemented to transform the images to change their shapes, sizes etc As there is a very near context between computer science and mathematics. Systems works completely based on the algorithms written to perform the particular task, algorithms are designed based on the mathematical concepts and are implemented by the programming languages in computer. Paper concentrates on the graphic capabilities and potentials of the digital computer. It presents an abstract idea of system that, how computer works internally to create and represent the simple graphical elements and images which human can see and understand. Paper presents all the components and related concepts with suitable examples from input information to graphical output produced by computer. After by getting the concept of image formation the next step is to know that how transformation of image takes place by changing original image. This paper illustrates four types of transformations with example translation, rotation, scaling, and shearing. Paper explores about display devices, different types of display methods, programming tools and finally drawing of a simple line in computer screen using a simple line drawing algorithm. Further it elaborates the concept of pixels, resolution, aspect ratio, persistency, different types of transformations etc.,

LINGUOCREATIVE POTENTIAL OF CONVERSION IN ENGLISH

The article focuses on the linguocreative potential of conversion in English on the basis of neologisms. Neologisms are newly created words or phrases that are not yet commonly used or recognized by the general public. Neologisms can be introduced into language for a variety of reasons, such as to express new concepts or ideas, to describe new technologies or phenomena, or to provide more precise language for a particular field or community. The linguocreative potential of conversion lies in its ability to create neologisms and expand the vocabulary of a language. By converting a word from one part of speech to another, speakers can express new shades of meaning or add versatility to their language use. In ordert to study the linguo-creative potential of conversion in English, we identified 1080 examples from the dictionaries of neologisms "The Facts on File Dictionary of New Words" (1985), "The Morrow Book of New Words: 8500 Terms Not Yet in Standard Dictionaries" (1982), in which neologisms-conversives of 1950-1970 are presented, and also The Oxford Dictionary of New Words: A popular guide to words in the news (2010) and Webster's New World Dictionary of American English (2016), which cite neologisms-conversives of the beginning of the XXI century. All examples are analyzed taking into account the socio-economic preconditions of their appearance, the peculiarities of the use of neologisms-conversives as a reflection of the linguistic picture of the human world are described, quantitative characteristics of the spread of neologisms-conversives in different time periods are established.

Performative Discourse in E. Grishkovets Monodramas

The purpose of the study is to determine the specifics of the compositional–speech form of E. Grishkovets' monodrama. The subject of the study is the ratio of narrative and anarrative elements in six monodramas by E. Grishkovets - "How I ate a dog", "Simultaneously", "Dreadnoughts", "+1", "Farewell to paper", "Whisper of the heart". To achieve this goal, the following tasks are solved: firstly, to identify and characterize the anarrative elements in the monodramas of E. Grishkovets; secondly, to analyze the communicative situations underlying the action of the studied plays; thirdly, to determine the ratio of narrative and performative elements in the works. The theoretical basis was the work in the field of artistic discourse: the theory of the dialogical nature of art by M. M. Bakhtin, which has already become a classic, and was developed in the research of V. I. Tyupa. The main method of research was the discursive analysis of the literary text, which allows to identify and describe the invariant model of E. Grishkovets' monodrama. The scientific novelty of the research lies in the approach used: the invariant structure of E. Grishkovets' monodramas is revealed by studying the genre through discourse. The analysis of the peculiarities of the discourse of E. Grishkovets' monodramas showed that the event of each of the plays consists in the explication "here and now" before the reader/viewer of complex internal processes occurring in the minds of the characters asking ontological questions related to the self-determination of a person in the world. The human essence in one aspect or another of being becomes a communicative object, while the hero tries to clarify his status for himself and the addressee of his speech. At the same time, in the picture of the hero's world, understanding turns out to be more significant than gaining knowledge. Trying to clarify for himself and the addressee one of the general laws of existence, the hero simultaneously transforms his own consciousness, since he comes to the conclusion that it is impossible to achieve mutual understanding in its entirety.

Song Folklore as a Basic Component to Form the National and Cultural Residence Area of Ukrainians

The author proposes the theory that the national and cultural habitat of Ukrainians is determined by musical and folklore sources. It is noted that the scientific analysis of folklore expresses the subject's world picture and the system of his sociocultural orientations, provides an opportunity to understand the transformation and historical sociodynamics, to determine the main system-forming meanings of culture and national culture in particular. Attention is focused on the cultural understanding of the essential content of the categories "national-cultural space", "folklore" and "musical folklore" as a type of folk artistic culture, which is based on the ethnicnational picture of the world. It was found that, gaining experience, the nation creates its own history, which is filled with its own unique meanings, inherent exclusively to its field of culture, which is characterized by certain values and special rules of interpretation. Musical folklore as some national modus in the traditional culture of Ukrainians forms the value and behavioral guidelines of the representatives of this community. The national-ethnic picture of the worldview and understanding of the meaning of being is defined as a single cognitive orientation, which is a non-verbal, implicit expression of understanding by members of each society of the "rules of life" determined by social, natural and supernatural forces. Ukrainian musical folklore is characterized as a type of culture that expresses the national picture of the world structure and the valuenormative system of people's life, the national-cultural habitat of Ukrainians. The picture of the world is considered as a representation of the surrounding reality, a feature of its perception, which is determined by the unity of subjective and objective conditions and factors of the formation of the national-cultural landscape. The significance of the musical and folklore concept in the formation of the main value orientations of the Ukrainian nation has been proven. Attention is drawn to the scientific rethinking of the content of traditional concepts of cultural creation in the context of its national mode. An art-critic analysis of the musical-folkloric component in the rituals of Ukrainians is presented.

Polycode Representation of Kinesthetic Phrasemes: Metaphorical and Semiotic Perspectives

The study is devoted to the analysis of somatic metaphor in the political communication, considered as a syncteric metaphorical-semiotic structure, which serves as one of the ways to encode ideological, cultural, evaluative, emotional, argumentative and other types of meanings. The necessity for a detailed analysis of the implementation of the actional code in the media political space was dictated by the need to study the mechanisms of interaction between kinesthetic and linguistic signs as powerful means of persuasion and effective impact on the readership. The study is based on an integral semiotic approach which involves the use of semantic-cognitive analysis, discourse analysis, content analysis, methods of contextual interpretation and conceptual metaphorical modeling, as well as the involvement of interdisciplinary information of the fields of cultural studies, sociology, psychology of communication and political science. The material of the study is represented by electronic mass media analytical and news reports on the political subjects with the focus on verbal and non-verbal somatisms. It was found that the system of archaic ideas and ritual actions determines the metaphorization and symbolization of related and free phraseological formations, the origin of which is due to the markedness of the elements of the non-verbal body code. Intercultural analogy and pragmatic parallelism of non-verbal and verbal representations of somatic units along with semiotic interpretation of the original meaning is revealed. Differences in communicative pragmatics and axiology of somatisms identical in structure and content in the intercultural aspect are characterized. Techniques for constructing the external and internal syntax of the actional code are described, models for assembling kinesthetic phrasemes into gestalt are demonstrated, and algorithms for unpacking/decoding of their meaning are demonstrated. The synergy of verbal and actional languages of communication in the construction of a cognitive-linguistic picture of the political world is noted.

THE RELEVANCE OF NOMINATIVE MEANS OF THE CONCEPT EXPRESSION TECHNOLOGY IN THE ENGLISH WORLDVIEW: MULTILINGUAL ASPECTS

The purpose of the article is to review and arrange according to the specified criteria nominative means of expressing the concept of TECHNOLOGY in the context of the English-speaking, French-speaking and German-speaking world picture; coverage of nominative features; identification of a different and common character to determine a comprehensive idea of the expression of the concept of TECHNOLOGY in the context of the English-speaking, French-speaking and German-speaking picture of the world. The main problem of modern linguistics is the study of the relationship of language and thinking to language and culture, due to the fact that language is the founder of culture. The main attention is paid to the study of the structure of the language system in connection with the consciousness of a person, his worldview and spiritual life; specifics of speech behavior of different peoples. The concept appears as the key and most relevant unit of research in the context of cognitive linguistics.The concept of TECHNOLOGY represents a complex of socially significant ideas of a person about the process of his relations with various objects of reality. Similar concepts consolidate the intellectual space of the respective era, largely determining the nature of thinking and axiological relations of its representatives. Concepts as elements of consciousness are completely independent of speech, and language means convey only part of the concept with their meanings, which is confirmed by the existence of many different synonyms, definitions and descriptions of the same concept.

Allegory as Language Game: Spenser with Ludwig Wittgenstein

Wittgenstein’s early philosophical masterpiece, the Tractatus Logico-Philosophicus, builds to a logical picture of the whole world and asks what words can give us pictures of. Broadly speaking, this “picture-theory of language” exposes the underlying assumptions of allegory. Rejecting logic in his late work, especially the Philosophical Investigations, Wittgenstein asks what, in the vast array of human circumstances, words are used for. Meaning is no longer a spectral picture inside the head; it is out in the world, woven into all our interactions. Similarly, when we interpret The Faerie Queene, we are not constructing models of what each of us alone (in competition with everyone else) pictures as the true meaning. We are interacting with the text and with one another in the delicate web that is the poem’s field. All, or almost all, such interpretations are illuminating, but none of them is final, comprehensive, or in any simple sense true.

Religiously Marked Allusions as Knowledge Structures Activators

The article aims to delineate religiously marked allusions and their twofold interdependent properties in the literary text: religiously marked allusions as the carriers of religious information and activators of religious knowledge structures in the literary text. Religiously marked allusion constitutes a direct or indirect referent to the precedent religious text, and hence embodies a large scale encyclopedic, specifically, religious and culture specific information in its semantic construct. The adequate interpretation of religiously marked allusions presuppose the existence of corresponding religious knowledge structures in the reader's mind. To reveal specific features of religiously marked allusions as knowledge structure activators in the literary text, the method of conceptual analysis was applied. The method of conceptual analysis is targeted at revealing conceptual significance of religiously marked allusions, and explicating the author's individual world picture and conceptual information implicitly presented by him/her in the literary text. To achieve the research aim first factual, subtextual, conceptual information of the linguistic material was exposed. The results of the analysis show that in addition to religious knowledge structures, religiously marked allusions activate old and new, collective and individual, objective and subjective knowledge structures too. In addition, being highly influenced by the author's individual conceptual world picture and modality, religiously marked allusions can be reinterpreted and obtain additional or totally new conceptual senses in the literary text. Consequently, specific types of knowledge structures externalized by religiously marked allusions often showcase contradictions between old and new, collective and individual, objective and subjective knowledge structures.

Fictional Concept and Peculiarities of its Functioning in the Text

The article attempts to present and clarify a fictional concept, its distinctive properties and ways of its functioning in a literary text. Being considered as the main unit of the conceptual analysis of a fiction work, the concept expresses the conceptual meanings of the text, realizing the function of reflecting the individual author's world picture and the information embedded in it. The relevance of the article is confirmed by the prevalence of conceptual analysis in the field of many linguistic sciences, which generates additional study of the essential units of this analysis fictional concepts. This presupposes the main purpose of the article, which consists in identifying the specific features of a fictional concept found in a literary work, as well as in considering the features of its implementation in the text. The consideration of concepts in fiction texts made it possible to identify their distinctive features: imagery, evaluativeness, emotiveness, associativity, symbolism and dynamic character. Another specific feature of a fictional concept is its contextual determinism, which is based on the dependence of the concept on the type of context (linguistic and extralinguistic). Moreover, it became possible to identify a vivid feature of fictional concept that differentiates it from other cognitive concepts the ability to reflect an individual author's fictional world picture. This property is manifested in the expression of the conceptual meanings of the text by fictional concepts. Analysis of fictional concepts can be applied while analyzing and interpreting literary texts and building their conceptual spheres.

Concepts of “Counsel” and “Prosecutor” as Perceived by Native Russian Speakers

The relevance of the article is determined by the deep interest of contemporary linguistics in studying language units from an anthropological perspective. Psycholinguistics, being one of such study areas, provides some tools to reveal the process of modern humans thinking and following some thought patterns. We assume that the judicial employees' professional worldview, shaped by a specific field of judiciary, and ordinary consciousness, formed under the influence of everyday life, reflects various linguistic world pictures of Russian speakers, which manifest through the images created while perceiving the same language units. Thus, the psycholinguistic method of free association seems to be the most relevant technique that makes it possible to study how the lexemes counsel and prosecutor find their expression in the linguistic consciousness of native Russian speakers. The article highlights the results of free association that represent the peculiarities of associative perception in professional, judicial and ordinary consciousness for the concepts mentioned above. The participants of the experiment were persons both with a law degree and not. The results of the experiment have shown that the lawyers professional worldview, when digesting the concepts proposed, shifts the focus to the subject area, in the images of a counsel and a prosecutor a lawyer sees their professional activity and competence. For ordinary consciousness, however, these images are connected to respondents' expectations and emotional attitude towards them, which enables to assess the connotations of these lexemes, being formed by ordinary consciousness.

РЕАЛЬНІСТЬ КРІЗЬ ПРИЗМУ ЖИВОПИСУ: СИМУЛЯКРИ МІШЕЛЯ УЕЛЬБЕКА

The article examines the code of painting and the media codes of other sign systems that are inseparable from it, forming a peculiar picture of the modern information world as a world of simulacra in M. Houellebecq’s novel “La carte et le territoire” (“The Map and the Territory” in English translation). The purpose of the work is to reveal the role and functions of the painting code and related to it media codes of photography, video art, architecture, advertising, and the Internet in the author of “The Map and the Territory” narrative strategy, that permits to identify some general laws of, typical for postmodern art, intermedial thinking and to clarify the concept of intermediality itself. We have applied intertextual, intermedial, hermeneutic, historical and literary research methods to conduct the research. The simulation, real world depiction imitation, which is replaced in the novel by its numerous “copies of copies”, begins with the first appellative structure of the text, the title itself – “The Map and the Territory”. The title announces the principle of replacing reality (territory) with its conventional image (map), which makes an emphasis on the intermedial prism as a decisive idea of world reproduction in the novel. Painting, as one of the most expressive forms of world depiction, is presented in the novel as a product of the simulacra multiplication technology, which is the leading one for the modern information society, where secondary modeling systems occupy an increasingly significant place. Painting, as a kind of litmus test, allows Houellebecq to show how various media zones, that create a distorted picture of the real world, interact and influence a modern person. Painting as “The Map and the Territory” central hero’s profession underpins the intermedial discourse of the novel, being in the focus of characters’ philosophical discussions and revealing its dominant role in the plastic accuracy of Jed’s paintings and photographs description. In the novel the literary text is consistently synchronized with the works of painters Koons and Hirst, whose images are depicted in the painting “Damien Hirst and Jeff Koons divide the art market” which opens “The Map and the Territory”. There is a verification of the painting by a word and vice versa. Multimedia spaces are superimposed on each other, giving birth to an intermedial, whimsical image of the modern world, which is successively destroyed by man, giving it to secondary sign systems. The idea of the simulacrum as a marker of modern culture determines both the form and the content of Houellebecq’s novel which carried out a “realist-postmodern synthesis” through an intermedial narrative strategy. Conclusion. The principle of simulacrum thinking, as a leading in modern art, was born by the world of simulacra in which modern man lives. The narrative strategy chosen by Houellebecq to demonstrate the secondary nature of modern ways of representing the world should prove to the reader, not only through the content but also through the intermedial narrative form itself, that it is necessary to wake up in order not to perish in the artificial world created by man as a “second nature”: a culture that, thanks to technological progress, erases a person from the planet’s map, leaving a free area covered with vegetation waves, where there are no people and cannot be. The pictorial code is dominant in Houellebecq’s narrative, through the prism of which the real world is shown in the novel. It demonstrates the modeling principle toxicity in the artworks based not on a mimetic mechanism but on the technique of simulation, simulacrum.

THE COURSE "EDUCATION IN THE CONTEXT OF MODERN SOCIO-ECONOMIC PROCESSES"
 AS A RESOURCE FOR THE DEVELOPMENT OF THE PROFESSIONAL-PEDAGOGICAL WORLDVIEW
 IN MASTER’S STUDENTS

The article provides definitions of the concept of “professional-pedagogical worldview”, proposed by various
 researchers in a very small number of works devoted to the study into that intra-personal phenomenon. Based on the analysis
 of the definitions, the authors conclude that the content of the teacher's professional training should cover not only the
 psychological, pedagogical, methodological and technological aspects of future professional activity, but also the socioeconomic,
 legal and political aspects and the grounds for integrating their professional activity into the modern world picture.
 According to the authors of the article, a significant resource for the development of the professional and pedagogical
 worldview in Master’s students may be the course “Education in the context of modern socio-economic processes”. The
 main tasks of teaching students the course are to master the knowledge about the main directions of the functioning of
 education in the context of world and national socio-economic realities and prospects, which implies an understanding of
 the essence of education as a social practice, the situation of the development of the education system in their own country
 and in the world; modern approaches to the education economics and legal regulation for education, key elements of the
 economic mechanism of the education sector, its socio-economic effectiveness, as well as the role of the teacher and the
 results of teachers’ professional activities for the social and innovative development of society and the state. The article
 presents an approximate thematic plan of the course and describes some of its content and methodical aspects.

Prosthetic Grand Synthesis

Prosthetic Grand Synthesis

The Main Character Development in The King of Staten Island Film

The research aimed to analyze the main character development in The King of Staten Island film by using Roberts and Zweig character change theory and Sigmund Freud's structure of personality theory. The researcher used The King of Staten Island film which was released in 2020 by Universal Pictures in association with Perfect World Pictures, and the film script as the source of data. This research used Roberts and Zweig’s character change theory, Sigmund Freud’s structure of personality theories, and Petrie and Boggs film characterization theory to analyze Scott Carlin's character. This research used qualitative method and content analysis approach also Mikos film analysis theory. The researcher confirmed Scott's structure of personality changed before Scott's character developed. Those three elements (id, ego, and superego) supported the character development of Scott Carlin. The result showed the id as the most frequently appeared structure with five data, followed by ego with three data, and lastly followed by superego with three data. It confirmed the id as the part which hinders Scott's development and the ego as the part which influenced Scott's development with the help of certain events in the story as the trigger. The researcher concluded Scott's character development became more courageous, composed, emotionally stable, mature, truthful about his feeling, could heed to other people's advice, control his emotion and anger, overcome his trauma, his hatred towards fireman is gone and admire this profession. On the other hand, the implication was that Scott's relationship with his family was restored, people's view towards Scott changed, and forgiveness of his past mistakes. Key words: Character development, (id, ego, and superego), structure of personality

CONDITIONALITY OF NOTION “COMPLEXITY” IN TERMINOLOGY OF CONTEMPORARY ARCHITECTURAL FORM-GENERATION

Problem statement. As a starting point, the article takes the need for constant revision of basic architectural categories and notions, caused by events associated with the emergence in the 1990s − digital non-linear architecture. As the culmination of the postmodern period, digital architecture continues to enrich its paradigm with a focus on complexity of architectural forms. However, based on the current complexity sciences achievements, digital architecture takes complexity with understanding not encountered previously in architectural design theory. The equivocality of notion definition of «complexity» is accepted as a research problem. The purpose of the article. The purpose of the research is to define notion of «complexity» in the context of contemporary architectural form-generation. Methods. The method of semantic analysis was chosen as the main one. Conclusion. The relationship between the notions of form and complexity is revealed, based on a historical analysis of the notion definitions of «form». The term definition of «architectural form» is given through the connection of form and content, that reviles the key aspects of contemporary architectural form content. Changes in the content of notion definitions of «complexity» are analyzed from the design methodology standpoint and general scientific methods. The meaning of complexity is revealed at three levels of form perception: morphological, symbolic and phenomenological levels. The conditionality of necessity and emergence causes of complexity in contemporary architectural forms as a result of changes in the society value orientations is considered. Examples of the gradual implementation of principles and the influence of complexity science upon the architecture theory are given. Taking into account the considered features of complexity understanding and ideas about complex objects taken from complexity theories, a notion definition that does not cause difficulties in application of «complexity» is formulated. Conclusions with nuances of application and characteristics of the obtained definition are given. The possibilities for the further implementation of relevant systemic ideas about city and urban environment that capable to introduce architecture to a new scientific world picture are determined.