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Abstract This study investigates the processing methods of artistic images within the context of Smart city (SC) initiatives, focusing on the visual healing effects of artistic image processing to enhance urban residents’ mental health and quality of life. Firstly, it examines the role of artistic image processing techniques in visual healing. Secondly, deep learning technology is introduced and improved, proposing the overlapping segmentation vision transformer (OSViT) for image blocks, and further integrating the bidirectional long short-term memory (BiLSTM) algorithm. An innovative artistic image processing and classification recognition model based on OSViT-BiLSTM is then constructed. Finally, the visual healing effect of the processed art images in different scenes is analyzed. The results demonstrate that the proposed model achieves a classification recognition accuracy of 92.9% for art images, which is at least 6.9% higher than that of other existing model algorithms. Additionally, over 90% of users report satisfaction with the visual healing effects of the artistic images. Therefore, it is found that the proposed model can accurately identify artistic images, enhance their beauty and artistry, and improve the visual healing effect. This study provides an experimental reference for incorporating visual healing into SC initiatives.

Classification of design codes by the level of complexity of their design was cre-ated for the first time. The obtained results are key to understanding the role of the QR code as a full-fledged work of art in the context of modern design. In the future, this will allow us to single out the most noticeable trends in the development of coded information in the conditions of modern visual culture.

This study investigates the processing methods of artistic images within the context of Smart city (SC) initiatives, focusing on the visual healing effects of artistic image processing to enhance urban residents' mental health and quality of life. Firstly, it examines the role of artistic image processing techniques in visual healing. Secondly, deep learning technology is introduced and improved, proposing the overlapping segmentation vision transformer (OSViT) for image blocks, and further integrating the bidirectional long short-term memory (BiLSTM) algorithm. An innovative artistic image processing and classification recognition model based on OSViT-BiLSTM is then constructed. Finally, the visual healing effect of the processed art images in different scenes is analyzed. The results demonstrate that the proposed model achieves a classification recognition accuracy of 92.9% for art images, which is at least 6.9% higher than that of other existing model algorithms. Additionally, over 90% of users report satisfaction with the visual healing effects of the artistic images. Therefore, it is found that the proposed model can accurately identify artistic images, enhance their beauty and artistry, and improve the visual healing effect. This study provides an experimental reference for incorporating visual healing into SC initiatives. [ABSTRACT FROM AUTHOR]

With the development of computer technology, image stylization has become one of the hottest technologies in image processing. To optimize the effect of artistic image style conversion, a method of artistic image style conversion optimized by attention mechanism is proposed. The CycleGAN network model is introduced, and then the generator is optimized by the attention mechanism. Finally, the application effect of the improved model is tested and analyzed. The results show that the improved model tends to be stable after 40 iterations, the loss value remains at 0.3, and the PSNR value can reach up to 15. From the perspective of the generated image effect, the model has a better visual effect than the CycleGAN model. In the subjective evaluation, 63 people expressed satisfaction with the converted artistic image. As a result, the cyclic generative adversarial network model optimized by the attention mechanism improves the clarity of the generated image, enhances the effect of blurring the target boundary contour, retains the detailed information of the image, optimizes the image stylization effect, and improves the image quality of the method and application value of the processing field. [ABSTRACT FROM AUTHOR]

The article discusses the development of the teacher's artistic and creative competence and the student's artistic and creative competence on the basis of pedagogical creativity; It is shown that the problem of interdependence of the artistic and creative competence of the teacher and the artistic and creative competence of the student in the conditions of martial law acquires special relevance in terms of its research and implementation in educational practice. The problem chosen for coverage is of particular importance for Ukrainian children and youth, childhood and whose youth has been devalued by the war, teachers and lecturers who must find the strength to support their own psychological and professional resources, to demonstrate to children calmness and confidence in their actions. It is proved that the value of the artistic and creative competence of the teacher lies in the fact that it ensures the fullness of the teacher's professional and personal life, enrichment of his inner world, contributes to the development of artistic and creative thinking. The artistic and creative competence of the teacher contributes to the formation of students' humane attitude to the world, their artistic, aesthetic and creative growth, the formation of artistic and creative competence as one of the most important components of cultural competence. The analysis of the essence of the artistic and creative competence of the teacher and the artistic and creative competence of the student, the substantiation of their interconnection and interdependence in development made it possible to conclude that the artistic and creative competence of the teacher is an integrated personal and professional quality of the individual, which reflects his artistic and aesthetic worldview, creative potential, level of development of creative qualities, in particular creative thinking, knowledge and skills in the field of artistic creativity, which together provide development of artistic and creative competence of the student, self-realization and self-expression of the teacher in pedagogical creativity, professional activity of artistic and creative direction. It is concluded that the artistic and creative activity of the teacher is a kind of pedagogical creativity, and therefore should be considered in the context of its laws and regularities. [ABSTRACT FROM AUTHOR]

Classification of design codes by the level of complexity of their design was created for the first time. The obtained results are key to understanding the role of the QR code as a full-fledged work of art in the context of modern design. In the future, this will allow us to single out the most noticeable trends in the development of coded information in the conditions of modern visual culture. [ABSTRACT FROM AUTHOR]

The relevance of the study is due to the increased interest of researchers in the study of the chronotope category in recent decades, and the lack of a unified approach to the analysis of the chronotope in the scientific community. The purpose of the article is to study the value aspects of space-time in the author’s mind through the study of the linguistic representation of the chronotope in Kazakh fiction and journalistic prose. To achieve the goal, the article uses a structural, biographical, hermeneutical, and comparative method. The article studies the spatiotemporal organization of literary texts of Kazakh writers: “Diary of a trip to Issyk-Kul” by Sh.Sh. Ualikhanov, “Tuyuk su” by G.K. Belger,” and “The tale of a century-old steppe man” by B.T. Alimzhanov. Based on the study of literary texts, using the indicated methodology, the key chronotopes for each selected work are identified. It has been established that the category of space-time in all the studied works is characterized by complexity, diversity, and multidimensionality. The practical significance of the study lies in the fact that the method of analysis of the chronotope category presented in the article can be applied in the study of the chronotope in literary texts.

Статья посвящена исследованию образцов доисторического искусства на территории Монголии, где находятся археологические памятники, свидетельствующие о том, что предки современного человека жили здесь 3,7 миллиона лет назад. Зарождение духовной культуры и художественного мышления древних людей связано с мифологией, а наскальные рисунки являются важным материалом для изучения культурных пластов того времени. Древние формы мышления, свойственные центральноазиатским кочевым сообществам, наиболее полно отражены в памятниках наскального искусства. Целью данной работы является выявление механизмов формирования художественного образа на основе анализа наскальных рисунков. Материалом исследования послужили петроглифы, зафиксированные в сомоне Улаанхус аймака Баян-Улгий в бассейнах рек Байга-Ойгур и Цагаан-Салаа в районе горного массива Алтай-Богдо-Уул. В результате применения феноменологического и герменевтического методов выявлены и интерпретированы образы, их общие и особенные черты, связанные с региональными традициями и культурной спецификой.

The article analyses the image of a rock musician in the late Soviet and modern Russian cinema. Having appeared on screen in the mid-80s, a rock musician character type immediately had a cult following. The image represented a hero of the then-new time, a singer of freedom, a bearer of a different, “correct” pro-Western worldview, starting from the appearance and ending with the philosophy of life, and a symbol of disagreement not only with the generation of fathers but also with the then-existing, “wrong” world order in general. A rock musician in the perestroika cinema was a typical rebel character who appeared in the world cinema at the turn of epochs. The author of the article formulates the cultural codes behind the representation of such a character type on screen, traces its transformation, and comes to the conclusion that the meanings behind a rock musician character type are gradually losing their immediate relevance in modern Russian cinema.

Copyright of Arabic Language & Literature (1735-9767) is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The relevance of the subject matter is conditioned by the fact that an important task of professional training of future specialists in the field of choreography is the development of artistic and imaginative thinking. The purpose of the study is to consider the structural components of artistic and imaginative thinking and analyse the features of the development of artistic and imaginative thinking of future choreography teachers in the process of professional training. The basis of the methodological approach in this research work is a qualitative combination of theoretical research methods, in particular analysis, synthesis, interpretation, generalisation and abstraction used to determine theoretical approaches to explaining the concept of artistic and imaginative thinking and its structural components. The results that were obtained in the framework of this study are the substantiation of various approaches to the definition of the concept of artistic and imaginative thinking, the structural components of imaginative thinking, identification of features of its development during the professional training of future choreography teachers, and the development of a special methodology aimed at the development of artistic and imaginative thinking. [ABSTRACT FROM AUTHOR]

In the study, an attempt was made to represent the conceptual meaning and specifics of the artistic and pedagogical mentality of a modern art teacher. The aim of the study was to highlight the structural organization of the phenomenon of artistic and pedagogical mentality of an art teacher. The article highlights the terminological contours of the categories “mindset” and “mentality” in modern scientific discourse. It was revealed that the psychological and pedagogical content of mentality consists in a special way of thinking, the orientation of thoughts that are born in the subconscious, but gradually absorb what is common, what consists of natural data and socially conditioned elements and is reflected in the perception of professional reality. It is maintained that the professional mentality of a teacher is an integrative characteristic of a personality that reflects the system-specific features of the mental makeup and worldview of people in the teaching profession. The structure of artistic and pedagogical mentality of art teachers includes: artistic and figurative thinking, artistic and creative reflexivity, pedagogical creativity, multi-artistic orientation, professional and pedagogical intentionality, scientific-research culture. The functional-role and conceptual significance of the phenomenon “artistic pedagogical mentality” in terms of the specifics of the professional activity of a modern art teacher is determined. The author determines pedagogical conditions for the formation of the artistic and pedagogical mentality of future fine art teachers: the formation of a positive value attitude of future art teachers at the worldview level and an active motivational focus on the formation of the artistic and pedagogical mentality; introduction of pedagogical situations of quasi-professional activity, which require activation of the mechanisms of artistic and pedagogical mentality into the process of professional and pedagogical training of future art teachers; actualization of personal and professional reflection as a basis for artistic and creative self-development of future art teachers.

The article discusses a number of Russian films where the main characters are doctors (Ragin by K. Serebrennikov, Ward No 6 by K. Shakhnazarov, Wild Field by M. Kalatozishvili, Arrhythmia by B. Khlebnikov, and Doctor by A. Temnikov). Through such characters cinema examines society for its humanity, civic responsibility, moral values, and viability. The social sentiments of the 2000s, which can be designated as moral anxiety, find their expression on the screen in the person of a medical profession who diagnoses society for its traumatization and offers solutions. Analysing the image of a doctor on the screen, the author formulates the cultural codes behind the representation of such characters in modern Russian cinema and draws conclusions about the urgent demand of society for spirituality accumulated in artistic images.

The purpose of the article is to analyse the romanticised artistic image of Esmeralda in the works of nineteenthcentury artists - one of the key characters of Victor Hugo's novel Notre Dame de Paris (1831) as a typical example of French literature of the Romantic period. This work is characterised by grotesqueness, hyperbole, conflict, and a tendency to dramatic moments in the plot construction, which is embodied in the figure of Esmeralda, a freedom-loving and charismatic Roma dancer. As a symbol of the two fundamental vectors of social development, which consisted in the struggle between good and evil, she captured the imagination of nineteenth-century artists, encouraging them to develop creatively and convey their feelings through visual tools in a romantic and realistic way. To this end, the following research methods were used: the historical method, which allowed to conduct study in accordance with the period of writing the novel and the works of art; the comparative method for comparing works of art united by a common storyline; the art historical analysis for establishing a number of stylistic and compositional features of each work. The scientific novelty is that for the first time a number of nineteenth-century paintings depicting the heroine of Notre Dame de Paris, Esmeralda, has been classified. The criterion for this selection was visual poetisation of the image of Esmeralda. Conclusions. The analysis of works by William-Adolphe Bouguereau, William Gale, Eugene Henry, Friedrich Kraus, Joseph van Lerius, Lionel Royer, Carl Steuben proves the attention of these and other artists to the figure of Esmeralda from Victor Hugo's novel Notre Dame de Paris. In the analysed paintings, the image of Esmeralda reflects the key features of the romantic worldview: the cult of feelings, attention to inner experiences of an individual, fascination with demonic female images, among others. The pictorial interpretations of Esmeralda's image by Romantic artists allow us to better understand the plot trends inherent in the Romantic period, and also to depict the external and internal beauty of women in the trends of Realism. [ABSTRACT FROM AUTHOR]

In order to improve the visual effect of the image, improve the peak signal-to-noise ratio and the structural similarity index of the image, and make the image more meet the visual requirements of the human eye, an edge color enhancement method based on the CANNY operator is proposed. The sparse representation method is used to achieve image denoising, the 2x2 filter is improved, the first-order partial derivative of the two-dimensional Gaussian function is established, and the image edge is detected to obtain accurate image edge information; According to Retinex theory, implement image color distortion recovery and image block effect removal, establish Lab color space, perform enhancement processing on luminance channel, and realize edge color enhancement of artistic image. The experimental results show that the peak signal-to-noise ratio, structural similarity index and CCI value of the method in this paper are high, and the LOE value is low, and the visual effect after image enhancement has been significantly improved, indicating that the enhancement effect is in line with human vision. [ABSTRACT FROM AUTHOR]

Статья посвящена отображению темы праздника в творчестве Майи Дмитриевны Ковешниковой. Ранее искусствоведами отмечались звучность, торжественность, нарядность натюрмортов с цветами, написанных этой художницей. Цель представленного в статье исследования — выявить особенности изобразительного языка и образного воплощения темы праздника в произведениях разных жанров — натюрморта, портрета, пейзажа, композиции, в которых работала М.Д. Ковешникова (хотя наибольшее внимание ею уделено натюрморту, в том числе и тематическому). С помощью искусствоведческого анализа определены композиционные и колористические приемы, смысловая наполненность образов. Элементы иконографического и символико-культурологического методов изучения картин позволили выявить образно-символический ряд, вписанный как в контекст русской и советской культуры, так и в континуум мировоззрения художницы. В качестве лейтмотивов в раскрытии темы праздника определены образы и символы русской народной культуры (элементы стеновой росписи, орнаментальной вышивки, образы хлеба, цветов и др.), знаковая работа с цветом (преимущественно красным) и светом. В содержательном плане праздник в творчестве М.Д. Ковешниковой связан с культурным наследием, народной и личной памятью, прославлением труда и силы человеческого духа, окрашен в разные эмоциональные тона.

The article deals with the essential regularities of form making in architecture. The authors outline two logics of aesthetic organisation of visual material. One logic goes from inside to outside – from the internal structure of the object to its external form as a system of information expression of the functional and planning organisation and structure; the other logic goes from outside – from the artistic and figurative solution for the architectural environment of the town-planning complex to the building, to its tectonics and geometric form. The analysis of modern architectural practice gives the authors an idea that the true architectural form should be sought beyond the styles and that extra-architectural associations today may be much more fruitful than turning to the trendiest styles.

This article continues the research of the author in the field of studying the phenomenon of a clown. The author discusses the problem of polar interpretations of the figure of a clown in scientific discourse, where there is a noticeable absence of convincing art history and cultural theories and concepts that can explain the connection between the figure of a clown and the phenomenon of laughter and humour. It is noted that, despite the fact that most studies focus on clown laughter, they do not analyse its specifics. In connection with the problem posed, the author suggests shifting away from the established paradigm of considering a clown as an artistic image and a comic character, and puts forward a hypothesis, according to which evolutionary theories of laughter and humour hold considerable verification potential for studying the clown figure. The author concludes that based on A.G. Kozintsev’s interdisciplinary evolutionary theory of laughter and the theory of humour, it is possible to prove the relationship between the clown phenomenon and the nature of laughter. The article discusses the assumption that man is the only species capable of semiosis and humorous meta-reflection, due to which he can be considered the most superficial hominid or “a flat animal” (the concept of G. Deleuze) that has humour, which is equivalent to a clown. The results of this research can be applied when studying the peculiarities of a clown as an artistic image (representation) in a work of art.

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Cultural genesis in music is linked to the various systems of actualization of the musical phenomenon--a stylistic, genre resource of music in unity with the natural dimensions of sound production, with the movement of musical time. Performing activity is structured both vertically and horizontally. Horizontally, it is assimilation of ethno-cultural, amateur, stylistic, genre, multicultural, multicultural, metaartistic, hermetic artistic codes, techniques, and systems of interpretation. Vertically, in the terms of J. Deleuze, it is elaboration of form creation, the unity of individual and the world, unity with the absolute, which is system- and structure-creating. Thus, the mechanism of a person's vertical independence in the world is a guarantor of their ability to find an intensive metric of musical matter alongside all other possibilities--mixes, configurations of composition in music. Music perseveres despite all the innovations of psychedelism and all the transformations of melos and folklore occurring during the 20th century. [ABSTRACT FROM AUTHOR]

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The article explores various interpretations of the image of a lawyer in the works of art of late Imperial Russia. As examples of artistic interpretation when creating the image of a sworn attorney at the beginning of the XX century, the author chose the works of A. M. Gorky “Mother” and “The Life of Klim Samgin”. In the course of a comparative analysis of the texts of these works of art, as well as sources of personal origin of lawyers N. K. Muravyov and V. A. Maklakov the author identifies and compares the characteristic moral and psychological features and features of the activities of fictional characters and real representatives of the Russian legal profession as possible prototypes of Gorky literary heroes.

The mechanisms of the process of mythologization of artistic text in the modern media space are considered. The role and importance of the artistic text and artistic image as an important and specific tool for modeling the socio-informational space are analyzed. The relationship between social, political, cultural processes and the nature of the aestheticization of the information and communication space is studied, the role of the artistic image and the artistic text in this process is determined. The author of the study has identified the nature of the creation, circulation and functioning of the actual myths in the modern media space, marked their impact on communication in the modern society. The phenomenon of norm mobility in modern society as a consequence of acceleration and activation of myth-making process based on the change of aesthetic characteristics of media and information and communication space in the modern world has been considered. The author also discusses the functional tasks of mythology in the context of the specifics of the media sphere and the socio-information space.

The article deals with the problematic and thematic projections of the work of Alexander Arapov (1959-2011), one of the most prominent representatives of modern Mordovian literature. The author focuses on the complex reality of Erzya-Russian poetic bilingualism, the study of which allows us to conclude that each of the languages has certain motive-figurative complexes, aesthetic ideas, ethno-psychological attitudes, linguo-poetic features, “voices” of traditions. So, the central place in the Russian-language poems of A.V. Arapova is occupied by existential-psychological motives, the “I”-subject analyzes the events of his life, gives them an assessment, while a negative emotional background prevails, a discrepancy between the desired and the actual is indicated. It is indicative that the theme of ethnic identity, almost obligatory for the national literature, is practically not revealed in the poems created in Russian, there are no examples of “connection” of the ethno-cultural component. One of the identified linguistic and poetic details is the representativeness of the infinitive writing. The Erzya texts analyzed by the author are far from social contexts, urban life, they have little reflection on the acutely experienced modernity. In the Erzya texts, landscape lyrics are dominant, the figurative and symbolic elements of the Mordovian ethnoculture are updated, the influence of national folklore is felt. The author’s desire for linguistic purism is noticeable in the poems in the Erzya language. Thus, it has been established that the reality of the Erzya-Russian poetic bilingualism of Alexander Arapov is not just two genetically different languages, but also two different artistic worldviews, the intersections between which are not so many.

The article deals with the concept of a prototype and the theory of prototypes. The author of the work shows that the prototype is an effective element that unites the real and artistic worlds, an important resource that contributes to the creation of a holistic and capacious image of the character. Borrowing the qualities of the prototype, the writer equips his character with them, sometimes directly, and sometimes fictionalizing these features. The creative work produced by writers with elements of the appearance and spiritual world of real persons enables the writer to make new discoveries. The article emphasizes the significance and functions of the prototype, a lot of work has been done to identify and systematize the prototypes of various characters of Russian literature. A comprehensive representation of real faces that served as a source for the formation of their heroes by different writers, reflection of the changes in the figures of these real people from a prototype to an artistic image, make it possible to better understand the author’s train of thought, his path from the hero’s idea to the realization of his figure in the work.

The subject of research in the article is the poetics of pictorial representation, which has developed in the battle writings in the late 18th century. The purpose and objectives of the study are related to identifying the sources of visual imagery of Derzhavin’s battle poetry, which correlates with new creative concepts in the literature of the late 18th century. The poetics of the battle ode developed by Derzhavin is directly related to the representation of the emotional authenticity of the battle scenes, which is achieved through the introduction of vivid visual images. The author of the article establishes that Derzhavin’s battleistics is characterized by the replacement of cumbersome associative rows with visible details from the real world, which have symbolic overtones. The result of the study was the reconstruction of the artistic system of the heroic ode developed by Derzhavin, in which the central place is given to picturesqueness, which is achieved through the use of mechanisms for visualizing the artistic image. The article reveals that in the 1780s–1790s the classical tradition of battleistics is being transformed. A new manner of presentation is being laid, associated with the presentation of the pictures in question in the word, which is identified with the very process of comprehending reality.

The article analyses the plot and imagery of Eleanor Porter's novel "The Road to Understanding". Using elements of the phenomenological approach to text analysis, comparative and contrastive analysis, and the methodology of cultural research, the author demonstrates the evolution of the main character's image and comprehends the typology of women's images in historical and social contexts. The authors outline the main features of the aesthetics, creative style and outlook of Eleanor Porter. The article proves that the author used irony, artistic detail, psychological narration, contraposition, portrait and speech characteristics of her heroes to reveal their female characters. The author analyses the correlation between the characters in the storyline, defines the importance of the role of minor characters in the main heroine's character development. The special features of the concept "daughter" are shown as an embodiment of mental notions of spiritual beauty and family happiness. The value of the image-symbol of mother, its role in the composition and the artistic space of the work is revealed. Besides the comparative characteristic of characters in the work is given. In the process of work a search for new ways of analysis of artistic images in the artwork on the basis of interpretation and reader reception was carried out, as well as tradition and innovation in the work of the writer was revealed. The article proves artistic and moral value of Eleanor Porter's heritage. [ABSTRACT FROM AUTHOR]

The relevance of turning to the philosophical foundations of ethnoreminiscences and retro-archaizing tendencies of the modern style in the work of Nicholas Roerich, who in Paris, on the stage of the Diaghilev seasons, carried out a synthesis of arts and liturgical, religious worldview, is emphasized. The purpose of the article is to define the scenic synthesis of arts as a symbiosis of the prophetic, messianic act of modern artists and ethnocultural reconstructions of the ancient world. The research methodology is presented with comparative and systematic approaches. Transcendental, phenomenological and dialectical methods are used from philosophical methods, which make it possible to carry out a philosophical and anthropological analysis of the synthesis of arts as a dynamic integrity in the context of possible, existing and post-existing modes of existence of an artistic work. Scientific novelty of the article. It is proved that the retro-archaizing intentions of the modern style are a relapse of romanticism as a certain proto-modern, which was oriented towards the art of the East, the cultivation of the past and the theurgism of creativity. However, ecumenism is not the goal of Roerich's syntheses. Many interpreters claim that Christianity no longer fulfills its role as religare, has lost its mystical powers, a certain meta-religious synthesis must be found, and the synthesis of Hinduism and Christianity will, as it were, provide renewal. Roerich has nothing to do with such statements. The deep ornamental syntax of his works gives an opportunity to feel how dynamically, structurally and individually an artistic image is created. The three components of choreic symbiosis - musical, choreographic and artistic - form a unique synthesis, which is perceived as a literal immersion in a myth. Conclusions. The principles that Nikolai Roerich, Igor Stravinsky, and Vaclav Nizhynsky professed were similar. They can be characterized as retroarchaizing cubism: cuts, fractures of the forms of sonorous and visual matter in all the contrasting realities of this synthetic and artistic poem-drama of an artistic work. [ABSTRACT FROM AUTHOR]

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The purpose of the article is to reveal artistic images in "The Little Prince" ballet performance by Radu Poklitar with music by V. A. Mozart and Ukrainian lullabies performed by Maria Pylypchak. The methodology of the work is based on cultural analysis with elements of musicological analysis. The performed analysis provides familiarity with the ballet performance, the production of which took place on the theatre stage. Based on the synthesis of the obtained research results, the regularities of stage development in the interaction of choreography, music, and visualisation were established. The method of generalisation helped to record the sequence of formation of ballet images, disclosure of events in dialogue with music and visual series. The scientific novelty of the work lies in the fact that the analysis of the said ballet by Radu Poklitaru has been conducted. The interaction of choreography, music, and visual series in the embodiment of the philosophical fairy tale by Antoine Saint-Exupéry is revealed. The text of the article can be used when preparing a lecture on teaching music-theoretical and music-historical disciplines. Conclusions. Based on the analysis of "The Little Prince" ballet performance, the musical characteristics of the Little Prince, Rose, Snake and other actors were revealed by Radu Poklitaru. The stage unity of choreography, music, and visual series helped embody artistic images in the music-theatre genre. Choreography (elements of classics, free movements, imagery in movements) is supported by musical emotion and visualisation. The visual series significantly influenced the transmission of the philosophy and content of the literary source. The dramaturgy of the ballet is subordinated to the plot development. The musical basis of ballet became the basis for the realisation of artistic images in ballet: Mozart's works (Symphony No. 1, Fantasia in D minor, Piano Concerto with Orchestra No. 23, Part 2) and Ukrainian lullabies. [ABSTRACT FROM AUTHOR]

The purpose of the study is to examine and analyse the creative heritage of Fedir Nedoshovenko, the painter and teacher, whose works represent the Kyiv school of Ukrainian painting of the second half of the 20th century. The artist's activity, his artistic practice - both in painting, teaching - is inextricably linked with a deep understanding of the laws of fine art in the context of the European artistic culture. The methodology of the article is formed by a set of methods such as art history and structural axiological methods. The methods of empirical research of works of art are used: observation, comparison, and experiment. Abstraction, analysis and synthesis are applied at the empirical and theoretical levels of research. Historical method and systematic approach are used as methods of theoretical generalisation. Scientific novelty consists in understanding the artist's creativity, his artistic and pedagogical activity, which is determined by the principles of artistic genres. For the first time, achievements in the genre of portrait, still life, easel painting, specific features, means and methods of artistic expression of each genre in the artist's work are analysed. Conclusions. The activity of Fedir Nedoshovenko was in the pre-war and post-war period within the boundaries of the Kyiv State Art Institute, on the territory of which the artist lived with his family and taught. The content of the artist's work in a broad sense was a man, diverse nature, human life. The practice of the history of world art confirms that the true reflection of reality, announced by realistic aesthetics, is an important objective law of realistic art, which the artist taught and studied. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of familiarization of preschool children with works of art. It has been established that works of fine art directly influence the formation of the system of values and meanings in preschool children. Modern and previous studies of the aesthetic development of preschoolers are analyzed. The article compares and reveals the concept of aesthetic education and the peculiarities of education. It was found that the problem of aesthetic education in pedagogy has always been given a lot of attention. In terms of pedagogical leadership, pictorial activity becomes invaluable for the versatile development of the child, his mental and cognitive processes: perception, performance and creativity, which are inseparable unity and are integral parts of the productive artistic and creative activity of preschool children. For a full artistic and aesthetic development personality in the period of preschool childhood, it is necessary to create optimal conditions, emotional comfort and fill the child's life with interesting activity content. [ABSTRACT FROM AUTHOR]

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The transition to digital technologies and the remoteness of workplaces put forward new requirements in the textual materials of the mass media in order to increase the competitive advantages of individual online companies (editions) and the perception of readers. Therefore, the purpose of the study is to evaluate modern means of forming the perception and expressiveness of texts in an online format in order to maintain the loyalty of readers and website visitors. The article proves the need to improve the perception and expressiveness of text formats of online publications as a basic factor in increasing the competitiveness of media companies due to the expansion of the circle of readers and their retention as potential consumers of information products. It was noted that site visitors psychologically evaluate text materials on an emotional basis. Therefore, this aspect is fundamental in the formation of the relationship "consumer of information - emotional content of the text". The effectiveness of modern means of expressiveness of the Internet media regarding the presentation of text materials in Internet publications and stylistic design is noted. It is indicated that the further development of texts from the standpoint of emotional content is possible due to the use of innovative technologies based on artificial intelligence. Further research in the formation of textual materials should focus on the "editor-reader" relationship. [ABSTRACT FROM AUTHOR]

The relevance of the appeal to the philosophy of postmodern choreography in the work of the leading choreographers of Western Europe is determined by the need to show the metaphysical foundations of the latest poetics of the tank, which were formed in Paris, on the stage of the Diaghilev seasons. The purpose of the article is to explain the stage synthesis of the arts of postmodernism in the context of the dialogue of cultures and dispersion - the personal act of the choreographer as a certain imperative of self-realization of the artistic image of the time. The research methodology is defined by comparative and systemic approaches, which enables a comparative analysis of choreographic systems in the culture of the 20th century. Transcendental, phenomenological, dialectical methods are used to determine the metaphysical foundations of tank systems (gesture, pose, continuous movement, plastic, architectonics, etc.), which make it possible to determine how this or that symbiosis of tank, music, scenography becomes possible, as it manifests itself in the leading choreographic systems of postmodernism, turns into another model of art synthesis. The scientific novelty of the article lies in the fact that it is proved how the experience of the synthesis of I. Stravinsky, M. Fokine, H. Balanchine, S. Lyfar was rethought in the conceptual reflection of the tank by M. Bejar, J. Neumayer, P. Bausch, U. Forsyth. The post-reflection of the choreography of postmodernism is formed as a symbiosis of the metaphysics of choreography, which at the beginning of the 20th century had a purely modern, avant-garde character, and the prophetic mission of the personal act of the master choreographer. These are models of Zen Buddhism by Béjart, polystylistics by Neumeier, "street aesthetics" by Bausch, and the improvisational element of Forsyth's tank). Conclusions. The reflection of postmodern choreography is a secondary phenomenon compared to the discovery of "cubism" in the choreography of V. Nizhinsky, or the "media choreography" of S. Lyfar. After all, the postmodern symbiosis of performing arts marked another stage of stagecraft as an image of the tank's unique individuality. [ABSTRACT FROM AUTHOR]

The article deals with the issue of correct pronunciation of the surname of Konstantin Levin — a character from L. N. Tolstoy’s novel Anna Karenina. According to the writer’s youngest daughter A. L. Tolstaya and his great grandson I. V. Tolstoy, the author of the novel and all his family pronounced it like “Lévin.” This tradition is currently preserved in the L. N. Tolstoy State Museum in Moscow and in L. N. Tolstoy Museum-Estate ‘Yasnaya Polyana’. Apart from the spoken tradition there is also a written tradition originated from L. N. Tolstoy himself. Manuscripts of Anna Karenina attest to the fact that L. N. Tolstoy, S. A. Tolstaya and all other copyists always wrote “Levin,” letter “ё” (“yo”) being used in necessary cases. N. N. Strakhov who helped L. N. Tolstoy prepare the first separate edition of Anna Karenina (1878) wrote in the same manner. The tradition of spelling the surname of the character as “Levin” is registered in all lifetime and posthumous editions of Anna Karenina as well as in translations into foreign languages. However there is a contradiction in spelling “Lyovin” in two private letters of L. N. Tolstoy’s contemporaries (I. S. Aksakov and K. N. Leontiev), who were not in his inner circle, and a viewpoint of V. V. Nabokov claiming that L. N. Tolstoy derived the character’s surname from his own name Lyov used at home.

The article is devoted to the peculiarity of artistic expression of the theme of money in “A Writer’s Diary” by F. M. Dostoevsky. The article indicates that Dostoevsky’s journalistic style is characterized by the use of metaphor as an artistic term that can accurately designate the phenomena of current reality and give them a social, cultural or philosophical interpretation. Such metaphorical concepts (“soil,” “earth,” “roots,” “golden age,” “golden bag,” etc.) in the writer’s journalism usually grow out of stable ideologemes, idioms or mythologemes universal for Russian culture, but acquire new meanings. The author of the article determines that the metaphor “golden bag” is used in those essays of “A Writer’s Diary” which discuss the problem of the cult of material goods, which penetrated all strata of Russian society of the 1870s. Dostoevsky, appealing to the well-known idiom “golden bag,” starts from its fixed definition of a “very rich man,” creates a metaphorical image of money, profit and greed, gaining power over modern man, then synonymously brings us closer to the idiom of the “golden calf,” which is not represented in “A Writer’s Diary.”

The article examines the features of constructing David Bowie’s mythology which has a pronounced hybrid character. The content analysis of D. Bowie’s works showed that he often used images that go back to classical mythological plots, and many popular songs and concepts of D. Bowie’s albums were created using mythologization mechanisms. The main creator of the myths was the performer himself, and the special mythological temporality constructed by the musician encompassed all modes of time, each of which could be correlated with a certain complex of myths. The specificity of such temporality in the case of D. Bowie was that it manifested itself in reverse chronological order: at the beginning of a career the future was mythologized, in the middle it was the present and at the end it was the past. Playing on various collisions of myth with reality and using the technique of myth reoccupation, D. Bowie demonstrated to the world all the creative power of “mythological reality”. It is noted that post-truth accompanied the musician’s career from the very beginning, contributing to the genuine disclosure of his talent. It is concluded that in relation to the heritage of D. Bowie, the term “hybrid mythology” acquires positive meaning. The singer manages to bring pop culture to a new level, giving rise to a phenomenon that we can call “bowiemythomania”.

Введение. Освещение женской проблематики являлось одной из доминирующих тем в творчестве целого ряда английских писателей XIX в. и давало ключ к пониманию места женщины в социуме и ее роли в развитии общественного прогресса. В рамках освещения женского вопроса в викторианском романе актуальным представляется обращение к творчеству Б. Дизраэли (1804–1881). Воплощение женских образов в романе «Генриетта Темпл: история любви» (1837) является показательным с точки зрения эволюции представлений о роли женщины и ее жизненных установок. Цель – анализ стратегий интерпретации главных женских персонажей романа «Генриетта Темпл: история любви» в русских переводах с учетом актуальных тенденций литературно-общественного процесса России 1850–1860-х гг. Материал и методы. Материалом исследования послужили оригинальный текст романа «Henrietta Temple: a love story», а также его анонимные переводы, опубликованные в журналах «Библиотека для чтения» в 1859 г. и «Переводы отдельных романов» типографии Н. С. Львова в 1867 г. В работе использовались историко-литературный, сравнительно-типологический и структурный методы. Для выявления особенностей интерпретации главных женских образов романа был проведен анализ оригинального текста романа и его переводов с привлечением методики, включающей пять основных параметров образа: интродукция персонажа, словесный портрет, речевая характеристика, описание поступков и авторское отношение. Результаты и обсуждение. С перевода романа «Генриетта Темпл: история любви» началось знакомство русского читателя с творчеством Б. Дизраэли. Сочинение английского писателя, созвучное общим тенденциям в русской литературе середины XIX в., было дважды анонимно переведено с разницей в восемь лет. Каждый из переводов стал отражением не только основных принципов художественного перевода и литературных норм своего времени, но и позиции, занимаемой переводчиком по отношению к вопросу о роли женщин и их прав в русском обществе. В данном аспекте интерес представляет интерпретация ключевых женских персонажей романа Б. Дизраэли, демонстрирующих различные характеры и жизненные установки. В центре повествования находятся образы героинь, вовлеченных в любовный треугольник: Генриетты Темпл и Кэтрин Грандисон, а также образ матери главного героя Констанции Армайн. Заключение. Как показывает анализ, не все параметры образов главных героинь романа Дизраэли нашли свое отражение в переводах. Особенность русской версии, опубликованной в «Библиотеке для чтения» в 1859 г., заключалась в том, что переводчик, действуя в рамках норм переводческого дела в России середины XIX в. и политики журнала, существенно редуцировал оригинальный текст романа, что привело к значительному упрощению и схематизации образов «новых» героинь, в частности Генриетты. Автору русской версии романа, опубликованной в «Переводах отдельных романов» в 1867 г., в большей степени удалось воспроизвести пять основных параметров художественного образа героинь и воссоздать образ женщины нового типа, способной отстаивать свои интересы и реализовывать себя в полезной деятельности.

The article examines the artistic features of the image of a thunderstorm in Dostoevsky‟s novel “The Idiot.” The theory of symbol developed by A. Losev and S. Averintsev, the idea of psychological parallelism in a literary text studied by A. Veselovsky and the theory of the polyphonic novel by M. Bakhtin were used as a methodological basis. A significant part of the article is devoted to the poetics and symbolism of the pre-storm landscape in St. Petersburg and the peculiarities of describing the inner state of Prince Myshkin. The relevance of the work is determined by the importance of considering the philosophical and aesthetic nature of the landscape (including urban landscape) in the writer‟s polyphonic novels, in particular, in “The Idiot.” Dostoevsky‟s landscapes fully reveal the spiritual and moral-philosophical facets of the author‟s worldview and his characters. This is especially true of the pre-thunder and thunderstorm description of nature in the novel. They are subtly coupled with the image of Myshkin‟s psychological state before an epileptic seizure. The pictorial power of Dostoevsky‟s artistic word in this episode often attracted researchers, but it did not become the subject of a detailed consideration. That is why a detailed analysis of chapters 2–5 of part II of the novel, in which the thunderstorm, the experiences and thoughts of the main character are outlined, was claimed by us as the main purpose of this article. To achieve the study‟s goal, we used the following methods: a) systematic analyses, combining historical-literary and theoretical-literary approaches; b) structural analyses, combining the semantics, poetics of the artistic word and the concept of culture and literature as a focus of signs and symbols; as well as the methods of observation, description, contextual analysis, analysis of the unity of form and content. The conclusions of the study allow us to use the terminological combination of A. Veselovsky “psychological parallelism” in relation to the analysis of the thunderstorm episode and the description of Myshkin‟s seizure. It is proved that the polyphonic instrumentation permeates both the content and the form of Dostoevsky‟s text, and the symbolism of the fragment of the pre-storm and thunderstorm is extremely multi-layered.

Introduction. In the last third of the 20th century new trends appeared in various spheres of public life. That made possible to characterize this time period as the era of postmodern. The culture processes of this period were called postmodernism. Despite significant research on the topic and phenomenon of postmodernism, it remains a subject of discussion, which makes the problem of its further study actual. The article reveals postmodernism through the prism of new accents in the disclosure of artistic images in world and national cinema. Transformation of artistic imageries in the cinema is analyzed in the historical, cultural and philosophical terms, which is an element of novelty of the article.Methodology and sources. The methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. Historical, comparative, systemic and semiotic research approaches are used. The author also used an integrated approach (formational and civilizational), which gives us a new perspective in understanding cultural phenomenon.Results and discussion. The artistic images of the world cinema are conceptually considered in a comparative analysis with the pre-war and post-war eras. The theoretical basis is the work of foreign (F. Jameson, J. Lacan) and domestic researchers (V.M. Dianova, I.P. Ilyin, N.A. Khrenov). National cinematography in the postmodern era is studied in the context of global and European processes, which makes possible to identify its general and specific feature.The results of the study show that in the last third of the 20th century, a significant transformation of artistic imageries took place in the world and in the national cinematography. It was based on unprecented social and cultural processes that led to profound behavioral and discursive changes. National cinematography reflected in its development global trends. However, the cultural development of Russian society in the postmodern era coincided with a systemic crisis and the collapse of statehood. That determined the specificity of Russian postmodernism, its philosophical and cultural orientation. In this regard, the urgency of the problem of studying the cultural dynamics of spiritual processes of the late Soviet period and post-Soviet Russia, including in cinematography, is obvious.Conclusion. Cinematography as one of the most important phenomena fully reflects the dynamics of modern spiritual processes. Therefore, the study of artistic imageries of the world and national cinematography in the postmodern era is of significant research interest. The use of interdisciplinary and integrated approaches, taking into account the achievements of foreign and national researches, allows us to get a multidimensial picture of the spiritual transformation of the society. An unbiased understanding of the cultural and historical experience of the last third of the 20th century makes it possible to better understand the modern world, because without an analysis of the past, both the present and the future are inconceivable.

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Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The precious text of the Holy Quran is full of wise subtleties and artistic images or beautiful ideas that increase the aesthetics and effect of its verses; Its vivid and dynamic plot is such that spiritual and intangible phenomena, in visual and audio art images, become visible and tangible in the form of beautiful and expressive paintings. This method has continued using novel arrays such as similes and elements such as visualization, imagination, movement. In this article, in line with the linguistics of the Holy Quran and by looking at the definition of "artistic idea or image" in Arabic literature, some verses of the Quran that use this art to explain the values and anti-moral values have been analyzed; In the language of the Qur'an, the artistic images of the Qur'an are an example of its rational subtleties, in a way that embodies spiritual subjects and abstract concepts and makes them visible and tangible in the form of visual paintings. Technical illustrations or ideas of the Qur'an are not limited to moral values or norms such as modesty, chastity, humility, but are also used to explain anti-values such as infidelity, cruelty and miserliness and make such spiritual matters tangible. In Quranic ideas, the element of embodiment and embodied ideas are much more frequent than imaginary images and most images are visual. The artistic images of the Qur'an target the innate feelings and emotions of man in order to lead the audience to reflect on their behavior.