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The study of video games in the context of religious studies of popular culture is one of the fastest growing fields. Here the interests of researchers of games, media, modern religious processes, youth and many other fields of research intersect. In this article we will turn to how the “effects” paradigm manifests itself in the field of video games, an approach to the study of popular culture through the prism of its influence on a person or society as a whole. Here the tradition of phenomenological and structuralist research turns out to be important, and the main conclusion is the danger, some destructive potential of games. The strong influence of video games on the minds is noted not only by researchers, but also by representatives of religious organizations that specifically create computer games for educational, missionary and, generally speaking, entertainment purposes. An alternative to such a focus is being sought and found by researchers from the interdisciplinary field of studying video games and religion, which is already developing in the 21st century. There is a study of communities of gamers, the narratives they create, and research from the field of social psychology and even aesthetics. Video games are no longer perceived only as a carrier of an idea that is potentially dangerous and has a one-sided impact on the consumer, but rather as a space of co-creation, interaction and active participation of all involved - the players, their environment, those who create the games. This field can be a source for new research in the field of contemporary religious processes.

Copyright of Bulletin of The L N Gumilyov Eurasian National University Political Science Regional Studies Oriental Studies Turkology Series is the property of L.N. Gumilyov Eurasian National University 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.)

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Pedagogical Sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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.)

Copyright of Physical Culture: Upbringing, Education, Training is the property of National University of Uzbekistan named after Mirzo Ulugbek 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.)

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Статья посвящена исследованию особенностей игровых предпочтения детей старшего дошкольного возраста, воспитывающихся в семьях с разным стилем семейного воспитания. Представлены данные, полученные из ответов на вопросы о предпочитаемых играх, игрушках, игровых ролях, местах для игр и участии родителей в совместной игровой деятельности с детьми. В опросе принимали участие 34 родителя и 36 детей старшего дошкольного возраста. Ответы были проанализированы с учетом стиля семейного воспитания. В группе семей с гармоничным стилем воспитания отмечается активное взаимодействие родителей с детьми, что сказывается на многообразии предпочитаемых игр, разнообразии сюжетов и на широком ролевом репертуаре. При этом предпочитаемым местом игр большинство детей называют дом. В группе семей с минимальностью санкций родители практически не выдвигают никаких ограничений и условий к своим детям, вследствие чего игровые предпочтения детей зачастую сводятся к выбору компьютерных игр с использованием гаджетов, игровых приставок, что также проявляется и в выборе игровых ролей. В семьях с гиперпротекцией в выборе наблюдается акцент на настольные и развивающие игры, что можно связать с чрезмерным вниманием родителей к обучению и развитию своих детей. В качестве предпочитаемого места для игр большинство детей данной группы выбирают детский сад. Совпадение ответов детей и родителей о вовлеченности в совместную игровую деятельность, предпочитаемые игры и игрушки в большей степени характерно для семей с гармоничным стилем семейного воспитания.

The article presents a good pedagogical practice in which the integrative approach in STE(A)M education for first grade is applied through the use of the innovative „Escape Room“ method. The plot, scenario, and riddles in the educational escape room are on the topic: „Tale of the Locked Castle“. The implemented educational game has a practical application in the curriculum of first-graders. The riddles implemented in the classroom are related to scientific, technological, engineering, and mathematical concepts. The goal of integrating this game method into STE(A)M education in early school age is to stimulate curiosity in an innovative way, to provoke interest in students, to create a favorable learning atmosphere that motivates students, to engage them in the learning process, to participate actively in it, as well as to develop key skills in students. This would contribute to a better understanding of complex concepts in a fun and engaging way. The article provides data and their analysis from a conducted survey to establish the satisfaction of parents of first-graders. [ABSTRACT FROM AUTHOR]

У раду настојимо да представимо суштинске одлике васпитања у српској традиционалној култури. Одлике васпитања у српској традиционалној култури приказали смо кроз три аспекта. Навели смо најзначајније обичаје који су присутни у српској традиционалној култури, а везани су за дијете и дјетињство. Анализиране су одлике игре, њено мјесто и улога у традицијској култури Срба. Суштинске одлике васпитања у нашој култури огледају се у поступном увођењу дјеце у радни процес, учешћу дјеце у привређивању заједнице, заједничкој бризи о дјеци, старању о томе да задаци повјерени дјеци буду усклађени с њиховим узрастом и способностима.

В статье рассматриваются языковые особенности лексики сферы киберспорта как разновидности современного сленга русского языка. В процессе исследования был проведен анализ современного сленга киберспортсменов, выявлены его словообразовательные разновидности и тематические группы, изучена этимология единиц. Лексика игровой индустрии в данном исследовании классифицируется как локальная и глобальная. В качестве основных особенностей лексики киберспорта авторы статьи выделяют тематическое многообразие; главенствующую позицию англицизмов, в разной степени адаптированных к русскому языку; неупорядоченность словарного фонда; вариативность и сниженный характер языковых единиц. В заключении определены основные направления для дальнейшего исследования данного пласта лексики.

The purpose of this article is to present non-standard ideas to students studying the specialties "Preschool and Primary School Pedagogy" and "Preschool Pedagogy and Foreign Language" at the University "Prof. Dr. Asen Zlatarov" - Burgas regarding the development of social competences in preschool children. The tasks to be solved in it are: • To define the concept of "social competence" in a substantive plan; • To present non-standard ideas to students for developing social competences in preschool children; • To summarize the obtained results. As one of the key competences laid down in the European reference framework for key competences for lifelong learning, social competence is a set of knowledge, skills and attitudes necessary for the future adult for his successful and effective social realization in society. The building of social skills that develop the child's ability to successfully interact and cooperate with peers and adults, the formation of a socially responsible attitude towards others, autonomy and independence as a set of self)control, self-education and self-service, critical thinking and the ability to detect social problems and resolving them in a way equally satisfying to both parties are part of the realized elements of "social competence". The Children with highly developed social skills have higher self-esteem, while the lack of important social skills in childhood is a prerequisite for mental health problems later in life. The direct relationship between the formation of social competences in childhood and proven academic achievements in the future has been empirically proven. Therefore, in addition to the indisputable role of the family in the process of the primary socialization of the child's personality in this context, the preparation and qualification of students - future educators for the improvement of the social competence of children within the framework of preschool education - is extremely important. The game, at the same time as a form, method, means and concept, contributes to the maximum effective organization of the pedagogical interaction in the kindergarten, as well as implies a maximum expression of non-standard, resp. the creative essence of the teaching profession. That is why the main focus of the current work is the analysis of the ideas of future educators for developing social competences in preschool children through play. [ABSTRACT FROM AUTHOR]

Copyright of Information Library Magazine 'INFOLIB' is the property of National Library of Uzbekistan named after Alisher Navoi 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.)

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus 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.)

Copyright of Journal of the Institute of Educational Research / Zbornik Instituta za Pedagoška Istrazivanja is the property of National Library of Serbia 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.)

В статье анализируются роман представителей младшего поколения московского концептуализма Сергея Ануфриева и Павла Пепперштейна «Мифогенная любовь каст» (1999–2002) и комикс польских авторов Кшиштофа Гавронкевича и Кристиана Розенберга «Achtung, Zelig! Вторая война» (2004) с точки зрения специфики обращения в этих текстах к военному прошлому (повествование на грани реального и фантастического, взрослого и детского, фактографии и гротеска). Особый интерес представляет психологически-эстетическая мотивация российских и польских авторов. Повествование представляет собой попытку выразить поколенческий опыт детей 1970-х гг.: одновременно непредставимость войны (и Холокоста в случае польского комикса) и перенасыщенность сознания приблизительным и фрагментарным, но идеологизированным и мифологизирующим знанием о ней. Военные мифологемы вводятся в круг «детских», концепт войны связывается с дискурсом детства и инфантильным поведением. При помощи совмещения перспектив взрослое-реальное / детское-сказочное обыгрываются официальные стереотипы, индоктринированные в массовое историческое сознание через литературу, кино, плакаты, школу, комикс, политическую карикатуру. Происходит, с одной стороны, буквализация «детского» неточного, сказочного / фантастического, фрагментарного представления о войне, с другой — совершается взрослая игра с военными мифологемами: авторы выступают в роли интерпретаторов мифа, используя при этом шаблоны, присутствующие в сознании любого представителя их поколения. Оба текста представляют собой воплощение поколенческого опыта существования внутри идеологии, оказываясь также попыткой достичь единства детского и взрослого, наивного и искушенного, социалистического и постсоциалистического. Статья поступила в редакцию 20.01.2023. Цитирование Адельгейм И. Е. Опыт художественной инфантилизации войны: «Мифогенная любовь каст» С. Ануфриева и П. Пепперштейна и «Achtung, Zelig! Вторая война» К. Гавронкевича и К. Розенберга // Славянский альманах. 2023. No 1–2. С. 314–337. DOI: 10.31168/2073- 5731.2023.1-2.3.05

Тенденција унапређења квалитета наставе математике на свим нивоима образовања захтева ефикасно и друштено прихватљиво основно математичко образовање. Почетна настава математике има дубок смисао и значај и мора бити постављена и реализована тако да након тог процеса савремени човек трајно задржи стечена знања и достигнути ниво когнитивних способности. Савремене педагошке теорије истичу значај игре као методе учења у оптималном стимулисању свестраног развоја ученика. С тим у вези, математичке игре препознате су као значајно средство и алат који доприноси развоју сазнања кроз образовни процес, посебно у почетном математичком образовању. Полазећи од анализе теоријских и практичних истраживања, у раду су сагледане могућности примене игара у почетној настави математике као подршка унапређивању квалитета процеса учења и наставе математике. Позитивно емпиријски евалуирани модели потврђују значајан утицај математичких игара на поспешивање интересовања и мотивације ученика у разредној настави математике, што упућује на оправдану претпоставку даљих импликација на квалитет исхода учења програмских садржаја.

Тенденција унапређења квалитета наставе математике на свим нивоима образовања захтева ефикасно и друштено прихватљиво основно математичко образовање. Почетна настава математике има дубок смисао и значај и мора бити постављена и реализована тако да након тог процеса савремени човек трајно задржи стечена знања и достигнути ниво когнитивних способности. Савремене педагошке теорије истичу значај игре као методе учења у оптималном стимулисању свестраног развоја ученика. С тим у вези, математичке игре препознате су као значајно средство и алат који доприноси развоју сазнања кроз образовни процес, посебно у почетном математичком образовању. Полазећи од анализе теоријских и практичних истраживања, у раду су сагледане могућности примене игара у почетној настави математике као подршка унапређивању квалитета процеса учења и наставе математике. Позитивно емпиријски евалуирани модели потврђују значајан утицај математичких игара на поспешивање интересовања и мотивације ученика у разредној настави математике, што упућује на оправдану претпоставку даљих импликација на квалитет исхода учења програмских садржаја.

Very often, work with individuals with hyperactivity takes the form of social modeling, prompting, play therapy interventions, shaping, practice through repetition, behavioral rehearsal, focused instruction, reinforcement and homework assignments. The training and implementation of some play interventions can sometimes effectively serve as the only method, as the only type of therapy for a particular individual or a particular disorder. All this motivates the author to raise the question of the importance of play as an alternative therapeutic intervention for children with attention deficit hyperactivity disorder through this article. [ABSTRACT FROM AUTHOR]

The article traces the emergence of the idea of development of physical education in the domestic pedagogy late XVII - early XX centuries . Based on the analysis of works of Russian scientists, artists and politicians found that Russian pedagogy sought to define the content and means of physical education and tempering in accordance with age- especially the human body. The author characterizes the development ideas of physical education, points to a crucial feature of the formation of physical training of children in Russia as medical control over the sports activities of the population. The author highlights the most important historical achievements that have occurred during the formation of the national physical education (end of XVII - beginning of XX centuries).

The article studies the early silent cinema motif of disappearance or invisibility of bodies in a frame. In adventure and adventure-fantasy films, this motif performs a whole set of functions. Using the example of several films, I uncover its rich semantic potential. Further on, the mythological origins of the motif are analyzed, as are the role of theater, circus, attraction and fairy tale in the prehistory of the diegetic disappearing. Attention is paid to the aesthetics of the trick in Georges Méliès’ films, where the condition and location of the vanishing body remain uncertain. Narrative films suggest a more definite interpretation of the character’s disappearance. For instance, the final episode of the British film The Life of Charles Peace (1905) implies the hero’s death by execution. However, the invisibility of the body creates the illusion of a likely open finale. Another example is D. W. Griffith’s The Adventures of Dollie (1908) about a girl locked in a barrel and traveling down the river to be returned to her father in the end. The happy-end gives this melodrama a touch of fantasy, presenting America as a wise natural universe. Working with the motif of the diegetic invisible/disappearing is significant for the cinema aesthetics, regardless of the motivations and meaning of what is happening. The diversity of the diegetic invisible reflects the need of cinema to model the picture of the magical universe. Предметом статьи является применение в раннем немом кино приема (мотива) исчезновения в кадре, а также относительно долгого пребывания тела в кадре в скрытом, невидимом состоянии. Диегетическое невидимое/исчезающее можно называть и приемом, и мотивом. Приемом — если рассматривать его с точки зрения формального языка, как один из принципов селекции и композиции при формировании внутрикадрового пространства. Мотивом — если интересоваться его содержательной целостностью и взаимодействием со всем смысловым полем произведения. Статья сосредоточивается на мотивных аспектах. Обозначенный мотив выполняет множество функций в авантюрном и авантюрно-фантастическом фильме. Автор останавливается на нескольких картинах с целью выявления вариантов художественного функционирования мотива, его богатого семантического потенциала. Анализируется мифологическое происхождение мотива, способного нести сложную смысловую нагрузку в зависимости от общего сюжетного контекста и тональности произведения. Рассматривается роль театра, цирка, аттракциона и сказки в предыстории мотива диегетического исчезающего. Автор анализирует эстетику трюка в фильмах Жоржа Мельеса, где состояние и местонахождение пропадающего тела остаются неопределенными и не предполагают интерпретации автора фильма. Реквизит (корзины, сундуки, ткань и пр.), с помощью которого исчезают персонажи, создает иллюзию того, что именно внутри них происходит тайна фокуса. Однако фокус имеет сугубо кинематографическую природу и его механизм находится за кадром, состоит в регуляции работы камеры. Фильм симулирует приемы театра и цирка. В отличие от бессюжетных картин Мельеса, сюжетные фильмы предполагают более определенное истолкование исчезновения персонажа. Так, в финальном эпизоде британского фильма «Жизнь Чарльза Писа» (1905) подразумевается смерть героя во время казни через повешенье. Однако невидимость тела создает иллюзию вероятности открытого финала. Подробно разбирается авторское высказывание Д.У. Гриффита в его дебютном фильме «Приключения Долли» (1908). Путешествие девочки, закрытой в бочке, по реке и счастливое возвращение к отцу превращает мелодраму с элементами криминальности в сказочную историю, полную рефлексии об Америке как мудром природном универсуме. Автор приходит к выводу, что работа с мотивом диегетического невидимого / исчезающего значима для эстетики кино вне зависимости от мотиваций и смысла происходящего в каждом отдельном случае. Многообразие диегетического невидимого отображает потребность авантюрно-фантастического кино в выходе за пределы рационального мышления и моделировании картины магического универсума.

Copyright of Journal for Languages & Literatures of the Faculty of Philosophy in Novi Sad / Zbornik za Jezike i Knjizevnosti Filozofskog Fakulteta u Novom Sadu is the property of Faculty of Philosophy, University of Novi Sad 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.)

Статья посвящена установлению специфики соотношения понятий «игра», «языковая игра», «ирония». Раскрываются причины, согласно которым ирония может считаться языковой игрой. Феномен иронии рассмотрен в когнитивно-коммуникативном плане сквозь призму языковой игры, поскольку основывается на манипулировании единицами языка, с целью порождения двуплановости. Доказано, что с помощью иронии создаются импликатуры, языковые аномалии (игремы) реализующие прагматические намерения адресанта с целью воздействия на адресата. Создание иронии репрезентируется в качестве когнитивной стратегии с вариативными логическими и семантическими тактиками.

The aim of this paper is to generate implications for future research based on the overview and analysis of the findings of relevant social sciences and the humanities that focus on toys as artifacts of the material culture of children, and/or childhood, with special reference to pedagogical research. By material culture of children, we mean items and objects that children themselves make, adapt or modify to fit their interests and the needs of their games, whereas the material culture of childhood refers to objects created by adults for children to play with. Toys can encourage different types of activities necessary for overall personality development, and can help children develop their cognitive abilities, their body and senses, gain knowledge, socialize, cultivate their emotions and appreciation of beauty, and develop their imagination and creativity. The potential of toys that children make themselves is reflected in the upbringing of creative, free, environmentally conscious and active members of society. Additionally, these toys allow children to build play, to perceive their own capabilities and restrictions, and to express their imagination, creativity and respect toward the environment, life and oneself. Future research approaches should be directed toward: a) toys as artifacts of the material culture of children, i.e. objects that children themselves make and use for the purposes of play, learning and development; b) integrating the perspective of children and adults with regard to toys, because the distinction between material culture of children, and material culture of childhood is conditional; c) understanding social practice, as well as different discourses related to process of making toys of children building toys by themselves, or through cooperation with adults; d) qualitative research on the design and application of educational toyscreated by adults for children to play with; e) examining the possibilities and the potential of integrating the so-called improvised toys into the family and institutional context; and f) initiating evaluative studies and integrating the values and content of local culture into the preschool and school curricula. [ABSTRACT FROM AUTHOR]

This article deals with theatricality as a characteristic feature of Shakespeare’s Antony and Cleopatra. It studies methods and techniques in creating the theatrical, fictional, illusory element as well as its correlation with the element of real events and circumstances. The theatricality here becomes a property of the life which the characters live because they live as they play. Besides, they make their own reality over the one given to them and see the world in the way they would like to see it. The play can be read as a gradual discovery of the theatrical, artifi cial nature of those pictures of the world which in the beginning is proclaimed by the characters to be an existing reality. Theatricality as a principle of life of the acting characters of the play opens in the verbal intention, imagery and range of metaphors, in acts and in the confi guration of the characters, which comes to be a subject of analysis in this article. For instance, theatricality is created by declamatory fl amboyance of speeches, by pretence, deception, jokes and manipulations that are inherent in the characters’ behaviour. Theatricality manifests itself in their desire to appear and care about their own image, in the presence in each scene of its own “actors” and “spectators”. The theatrical impetus, as a property of characters is most strongly expressed in Cleopatra and Antony. They make an image of their world of unprecedented love and live in it performing the roles they have assumed. The article argues that relationships between the reality and fantasy, the life and performance in the play are ambivalent, and are treated as fundamentally non-differentiated and continuously fl owing into each other. The border between them is finally erased by the death of the hero and heroine. In terms of art and in terms of theater they have won, in real life they die and lose. However, only the spectator knows about this reality. For the heroes, the reality, theater and triumph coincide. The theatre in this play by Shakespeare becomes an all-encompassing category.

Игра, как правило, встречается в каждой культуре, она привлекает почти всех детей и даже взрослых. В статье авторы обращают внимание на роль традиционной культуры народа, роль национальных игр в обществе, их роль в воспитании молодежи. Игра призывает наше молодое поколение быть патриотами своей страны, любить Родину, уважать наследие народа. Через игру развивается ум ребенка. Кроме того, он начинает совершенствовать такие качества, как ловкость, быстрота действий, сила и терпение. Помимо сохранения народных традиций, игры имеют большое влияние на воспитание характера, силы воли, интереса к творчеству этноса. Многие сходства в структуре, правилах и процессах обнаруживаются в игре и учёбе. Важным моментом для исследования является положение о том, что все это естественным образом способствует воспитанию личности в целом. Игры свидетельствуют о древнейших концепциях истории, а рассмотренные средства игрового поля подтверждают их прецедентность для носителей языка. Основная цель этой статьи – увидеть, как мы можем интегрировать игру в повседневное преподавание и обучение, чтобы улучшить понимание учащихся. Также были рассмотрены возможности использования этнокультурной игры в педагогическом секторе.

The article discusses the issues of teaching a foreign language through the prism of the complex motivation principle. The motives of students at the initial stage of training in mastering a foreign language are analyzed. Some possibilities of using the complex motivation principle are given. Observations of students’ activities as well as their survey are presented. A classification of students’ motives based on their answers is proposed. Based on the results of observations of students’ educational activities, as well as their motives, recommendations on the organization of educational activities of teachers using the complex motivation principle are put forward. For the optimal use of the complex motivation principle, the teacher’s actions are described. Among them: to find out the goals, motives and needs of students, to form their intellectual need for knowledge, to take into account the degree of interest and responsibility of students and to correlate the possibilities of various linguodidactic means with the motivational sphere of students. A number of games aimed at the formation of lexical skills and the development of speaking skills, bearing in mind the various motives laid down in the essence of these games, assuming that the game is the leading type of activity are proposed. Method of research. The research is based on methods of collecting information, namely, monitoring the pedagogical process, analysis of scientific literature on the topic, the method of expert judges, a survey. The results of the study were subjected to qualitative analysis and experimental verification. The results of the study proved the effectiveness of the proposed classification of motives for optimizing the educational process of teaching English. After using motivational tasks, the overall level of students' learning, interest and motivation to learn, and the ease and accuracy of performing speech actions increased.

Игра је не само најчешћа дечја активност, већ и активност којом дете упознаје себе и своју околину и на њу делује. Играчке су средство деловања детета, које доприноси његовом упознавању и разумевању себе и своје околине. Циљ истраживања је био да се утврди које су најомиљеније играчке деце, као и на које начине се она њима играју. Узорак истраживања је чинило 120 деце, по 40 од 4, 5 и 6 година, уз подједнаку заступљеност девојчица и дечака. Коришћена је метода интервјуа. Резултати истраживања показују да су код деце омиљене савремене играчке, али и неке традиционалне, очигледан је и утицај медија, пре свега, цртаних филмова. Када је реч о начинима играња, из дечјих описа се може видети да играчке најчешће условљавају начине играња. Због изузетног значаја игре и играчака у дечјем животу и развоју, аутори сматрају да би требало да се поклони много више пажње како избору играчака, тако и дечијем искуству играња.

Игра је не само најчешћа дечја активност, већ и активност којом дете упознаје себе и своју околину и на њу делује. Играчке су средство деловања детета, које доприноси његовом упознавању и разумевању себе и своје околине. Циљ истраживања је био да се утврди које су најомиљеније играчке деце, као и на које начине се она њима играју. Узорак истраживања је чинило 120 деце, по 40 од 4, 5 и 6 година, уз подједнаку заступљеност девојчица и дечака. Коришћена је метода интервјуа. Резултати истраживања показују да су код деце омиљене савремене играчке, али и неке традиционалне, очигледан је и утицај медија, пре свега, цртаних филмова. Када је реч о начинима играња, из дечјих описа се може видети да играчке најчешће условљавају начине играња. Због изузетног значаја игре и играчака у дечјем животу и развоју, аутори сматрају да би требало да се поклони много више пажње како избору играчака, тако и дечијем искуству играња.

У овом раду су истражени неки аспекти конструкта детињства у Андрићевој приповеци „Деца“. Прво поглавље позиционира конструкт детињства обележен игром (трауматски обележеном). Друго поглавље биће посвећено испитивању симболичких последица одраслости. Тежиште проучавања биће развијање односа друштва и поједнца који се рефлектује у игри Андрићевих јунака. Напослетку ћемо размотрити улогу Андрићеве књижевне имагинације у идентитетском обликовању савременог младог читаоца с далекосежним последицама и преиспитивањем важних методичких питања. Наше тумачење ће се заснивати на постхерменеутичкој методологији у циљу интерпретативно методичког проналажења онога што је бит књижевних дела и разматрања шта нам та дела „поручују“ у савременим историјским и образовним циљевима.

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management 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.)

Introduction. Play is a symbolic space through which children cognize the world around them and master their mental processes. This study considers the potential of play activity for the development of various higher mental functions in preschool-age children. Theoretical Basis. This section describes working memory, inhibition, and cognitive flexibility as components of executive functions and demonstrates how they are involved in play activity. Results. This section summarizes: a) correlation studies on the relationship between self-regulation and play; and b) formative experiments that used play activity for the development of executive functions. Correlation studies showed that free play with peers has a complex structure and includes various aspects (role-taking, play substitution of objects and actions, and interaction with peers), which are differently related to the development of executive functions in preschool children. Attention is also given to studies that establish the relationship between children’s imagination in a play situation and the development of executive functions. Formative experiments indicated that a certain level of the development of executive functions is important for the implementation of play activities. At the same time, play activity is a mechanism for the development of executive functions. Discussion. The authors concentrate on limitations of the analyzed studies. The major drawback they identified is that previous studies of play activity examined its certain components in isolation (object substitution, role-taking, and imaginary situation). This review calls for further research that would identify a number of parameters and undertake a long-term observation to describe play activity of every individual child. Play activity is not simply a context for children’s emotional involvement; it is also important for the symbolic situations of the play to be close to their interests. Thus, the authors establish the complexity of organizing the development of executive functions within formative experiments using play activity. The study emphasizes the great potential of this direction of research.

The article deals with the representation of the game beginning in the poetry of A.N. Vertinsky. The main attention is paid to the study of space-time relations in verses of different years. The combination of the past, present and future withing a single poem allows you to create an image of the hero, to characterize his personality, to show how his life will develop. Dream and reality in the poet’s work form a single world, constantly intersecting in the life and fate of the hero. Occurring and dreaming events are perceived as equivalent.

In their monograph, the Ural scholars consider the play, fiction and Kulturträger aspects of G. Chkhartishvili’s literary and historiographic projects. The authors mainly focus on the different genres of the writer’s fiction and its “creative laboratory” in the form of his blog. Having failed to find readers’ appreciation in his status of a writer, B. Akunin enjoys being a successful author and is working on exploring his occupation. The authors of the book under review focus on the analysis of the variety of conventional and non-conventional play strategies Akunin employs in his literary works.

Nowadays special attention is paid to studies on the role of leisure-time activities in the preservation of ethnic customs and traditions. Culture comprises the diverse fields of human activity and historical achievements - from economy to household aspects, including social, material, and spiritual spheres of human life. The spiritual one, in its turn, comprises the field of folk knowledge which is a sub-system of traditional culture. Ethnic medicine contains important and vast knowledge accumulated by the Mordvins. Yu. Bromley characterized ethnic medicine as a set of healing methods and means applied by a certain people. L. Nikonova notes that ethnic medicine also comprises methods of how to stay healthy, sanitary-hygienic standards, and disease prevention measures. Thus, in the realm of ethnic medicine leisure-time activities act as a means to prevent diseases and strengthen health with positive emotional effects. When it came to arrange such activities, the Mordvins gave attention not only to healthfulness but also to communicative opportunities. Communication is a universal way, form, and means of cultural activities, being based on processing and transmission of information obtained by mankind. The communicative function of culture is to accumulate, store, and transmit experience, knowledge, customs, traditions, etc. Leisure-time activities comprise holidays, games, gatherings, circle dances, theatre performances, etc. The paper concludes that folk leisure-time traditions play a significant role in health preserving and disease prevention for the Mordvin people. Active leisure-time arrangements facilitate the physical development of children and youth, the emotional uplift being essentially health-beneficial. For adult Mordvins those were means to diversify their activities, that somewhat added to psychological comfort. The emotional life of the ethnos was influenced by magic elements of holidays and games. Leisure-time activities also served to impart folk knowledge upon younger generations and develop skills required in adult life.

This report stands up for the thesis that, while in the world of adults there is an increasingly clear process of infiltration of play in all spheres of life (the process of gamification), in the world of children, who attend public, state institutions for early childhood education, has been started the opposite process - for limit the game. Although the educational documentation in our country and in other countries regulates that play occupies a central place in the lives of children, their time for games is not enough. Instead of games, it relies on the application of learning models that are claimed to be game-based. Does play-based learning increasingly „eat” away children's play time? The report cites facts and research from three parts of the world (USA, Sweden, Hong Kong) in search of an answer to the question of what is the place of free play in state and public institutions for early childhood education. The results of an empirical study, conducted with Bulgarian kindergarten teachers about the place of games in kindergartens, are presented: how much time per a day children have for free games in kindergartens; what are the factors that impose the time for free games, indicated by the teachers; what are the professional and pedagogical functions of the teachers during the time for free games of the children and what is the connection between their professional and pedagogical priorities and the play of the children in the kindergarten. In addition to the specific data, obtained by the study (such as this that children most often play freely for up to 1 hour and 30 minutes a day), this study (like others) puts attention on the problem of the difficulties, which are arising from the complex nature of the game and from understanding that one can be in the „flow” (Csikszentmihalyi, M., 2016) playing at any time. Teachers sometimes mean many different things through the term „play” and it is often used for activities in which children do not play at all. In addition, the study found that the prevailing view among children's teachers was that children did not have enough time to play. However, this does not mean that they can deal with this problem. The traditional centralism in the management of pre-school education has really left most of teachers without hope that they can change anything. In essence, this is a dramatic situation because they face children who want to play every day and this is their right and reason (proven by science) for their development. [ABSTRACT FROM AUTHOR]

This article analyzes such systemically important features of the game poetics in “The death of Achilles” by B. Akunin, as stylization, intertextuality, theatricalization, effects of deceived expectations, playful structure of the text, variation of the plot lines, playful narration etc. It shows on various examples of this work how the author organically merges the playfulness and historical elements in his own kind of detective genre, and how he implements the interactive principle and creates provocative text.

We introduce an imprecise probability model for general interaction games based on the Dirichlet family of multivariate probability distributions. In order to deal with the lack of evidence (ex-ante information), an ambiguity averse attitude of the players is incorporated into the payoff function. The existence of an ambiguity averse Nash equilibrium for the N - stage game is established as a classical result, composed of individual Nash equilibria for each separate round in the repeated game. The existence of a common belief about the probability distributions is an essential assumption for the analysis. In addition, further research directions are suggested. [ABSTRACT FROM AUTHOR]

When well-chosen and meeting the learning objectives, the game is a sure way to consolidate already acquired knowledge in a new situation. One of its best advantages is that it encourages students to learn actively. By increasing students' attention to a task and encouraging participation, play helps them retain their knowledge. Over time, this leads to improved learning and student engagement. [ABSTRACT FROM AUTHOR]

The article tells about an initiative to transform the schoolyard into an attractive and interesting place for students. With the help of parents, teachers take the initiative to design interesting places for learning, relaxing and playing. [ABSTRACT FROM AUTHOR]

Copyright of Teaching Innovations / Inovacije u Nastavi is the property of University of Belgrade, Faculty of Teacher Education 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 composition “Movements for 13 string instruments” was completed in 1967 and belongs to the group of works by Simeon Pironkov whose titles include the word “music” – “Night music”, which is written the year before, “Ballet music in memory of Igor Stravinsky”, created at the beginning of the ‘70s of the last century, and “Music for two pianos and orchestra”. The external connection is the genre uncertainty of their names, which is equally characteristic of the notion “movements” which emphasizes the continuity of the musical process over time without suggesting a connection to a particular genre. At the same time, unlike the three “music”-s, the plural form used in the title – “movements” – draws attention to the plurality of the musical impulses that make up the whole musical thought. The strength of the 13 string instruments indicates the belonging of the work to the chamber orchestral music and fits it into the objective European tendency towards chamberhood, which was established in the first decades of the twentieth century. Listeners are unexpectedly involved in “Movements for 13 string instruments” to hear about eight minutes 37 of micro-episodes – movements that resemble fast-moving movie frames or short theatrical scenes – before the colorful kaleidoscope of parallel-moving melodic lines, clusters, peculiar rhythmic formulas and characteristic strokes to be abruptly cut off by the “guillotine of the four-bars final” (according to the exact expression of the musicologist Rosalia Bix). The versatility of the used vehicles of expression and the masterful handing of them are important prerequisites for the artistic impact of the work, recreating with a laconic expression part of the ever flowing life stream in the form of a series of changing movements. At the same time, it is also a way of the composers playing with its own creation, an expression of the typical for the 20th century tendency for the art to entertain with its means. In any case, “Movements for 13 string instruments” express the youthful spirit of their creator, because, according to the extremely inventive maxim of the theater producer Nicolay Georgiev, “man has stopped playing not because he is old but he is old because he has stopped playing”. [ABSTRACT FROM AUTHOR]

The article presents an realized idea of project-based learning „incarnations“ as a mechanism for encouraging reading and an element of consistently applied technology for developing communicative skills in the Bulgarian language classes and Literature at 11. Class by enriching learning with game and activity elements and focusing on interactions to stimulate positive emotional experiences, and discovering personal talents, leading to the improvement of communicative and social skills and It gives opportunity to stimulate the activity and creativity of the students through creative activity and artistic performances, but also extends the cognitive horizon by touching different historical figures, character in the life of Bulgarian writers, which are part from our national canon. [ABSTRACT FROM AUTHOR]

Copyright of International Dialogue: East-West is the property of International Center for Slavic Education- Sveti Nikole 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.)

Creative use of the potential of modern information and communication technologies for solving pedagogical, educational and training tasks is now an urgent problem of education. It is already impossible to isolate pupils from the modern means of communication (smartphones, tablets, etc.). The objective of a teacher to show how you can use the gadgets for educational purposes. Interest in their use as a source of useful information. Learn to evaluate and select information sources on various criteria: reliability, availability, adequacy and completeness of the information, response rate, etc. Theseand other skills to work with information are key in our rapidly changing world, and are part of the concept of information culture of the modern man. This article describes the use of educational technology of QR-codes to address these issues, as well as justification its effectiveness. The intellectual quest, which is the embodiment of the above ideas, combines the dynamism and kindness, interest and attentiveness, ability to work in a team and contribute to the common cause; aimed at the development of tolerance, inquisitiveness, activity, courtesy, accuracy, attention and thinking; as well as to broaden their horizons and the formation of information culture of schoolboys.

In the article the author describes archaic traditions of behavior, violating standards and norms of social life, as well as manifestation of this behavior in ceremonies and games, in literature, in culture of daily routine. В статье рассматриваются архаические традиции девиантного поведения, нарушающего стандарты и нормы социального бытия, а также проявления этого поведения в обрядах и играх, в художественной словесности, в культуре повседневности.

Курочкин Александр. Малоизученные аспекты традиционной украинской свадьбы. В статье акцентируется необходимость внимательно проанализировать развлекательно-игровую программу традиционной свадьбы украинцев, включающую в себя, в частности, «непристойные» обряды, песни, игры и танцы. Изучение этих явлений народной культуры долгое время тормозилось из-за преследований политической, церковной и моральной цензуры. Ключевые слова: свадьба, язычество, христианство, игра, песня, танец, обрядовая эротика. Kurochkin Oleksander. Unexplored aspects of traditional Ukrainian wedding. The article emphasizes necessity to carefully analyze entertainment and game program of traditional Ukrainian wedding, which includes, in particular, the "obscene" rituals, songs, games and dances. The study of these phenomena of popular culture was for a long time hampered due to political persecution, the church and the moral censorship presure. Nevertheless, vivid and original Ukrainian wedding studied several generations of scientists. This case paid tribute to many ukrainian and foreign ethnographers, historians, folklorists, musicologists and other experts. Lack of focus on entertainment and gaming component is an old flaw of our ukrainian ethnology. Censorship and persure of erotic folklore continued in Soviet Union times. Suffice it to recall that even in academic publications “Ukrainian wedding ceremonies and songs”, which were published in 70-80 years of the last century, editors were forced to distort facts, and to escape from publication some of authentic texts because of its "obscene" content. The history of wedding folklore discuss the reasons of disappearing of any rituals. Initial culture was based on a synthesis of philosophical ideas and art forms. But over time, due to the destruction of old ideological foundations of ancient ritual form or phenomena became artistic activities and holiday entertainment, or gradually were replaced by the sphere of life. Key words: wedding, heathendom, Christianity, game, song, dance, erotic ritual.

В работе рассматриваются теоретическая и практическая возможности использования продуктов, выполненных в идеологии Цифровой Земли, и в первую очередь геосервиса Google Earth, в учебном процессе в игровом режиме. Предлагаются варианты использования Google Earth в качестве средства обучения, анализируются возможные результаты.

Картина В.И. Сурикова «Взятие снежного городка» – единственная картина Василия Сурикова, написанная в Красноярске, и посвящена она родной Сибири и сибирякам. Художник называл ее бытовой, но так ли однозначен жанр картины? Ее называют веселой, но так ли это? В этом произведении многое раскрывается не с первого взгляда. За шуточной баталией стоят реальные исторические события и душевные переживания самого художника. Картина открывает новый период в творчестве Сурикова – батальный, период преодолений и побед. Она внесла в русское искусство невиданную доселе легкую стремительную динамичность. Композиция картины сложна и неоднозначна, наполнена подтекстами и пластическими находками.

Purpose of Article. Coverage of the main issues of improving the technology of professional actor's skill as the basis for artistic and creative activity, determining the role of emotional memory in the process of stage performance of the artist for providing the appropriate vitality to the character, revealing its characteristics and personal interpretation of the image. Methodology. The methodology of the research consists in the application of analytical, art, functional, system methods of researching the technology of professional skill of the theatre actor and emotional memory as an element of the actor's internal technique, a tool for improving the artist's creative process in his professional activities. Scientific novelty. The scientific novelty of the research consists in the assertion that the process of professional artistic activity of the artist of the theater arises through the conscious psychotechnics of the creator to the subconscious creativity of his organic nature, in which emotional memory is not the last place. Conclusions. As a result of the analysis of this article, we can make the following conclusion, that each artistic individual has its own key to the treasury of artistic creativity that arises and induces the master to stage activities through inspiration, emotional mood and, above all, talent for creating a unique creation of the art of theater. The great desire of every modern theater's actor is the invention of such a technique of playing the game that would induce an effective emotional memory to appear in a certain theatrical scene at a certain point in time and fix it for further perfect refinement and the necessary effectiveness of stage activities. But, unfortunately, nowadays, there is no such single technical tool, common criteria and structure for constructing the artist's skill for all actors of the scene. [ABSTRACT FROM AUTHOR]

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