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The souls of Pe and Nekhen used to be depicted in the Henu posture. It is done by striking the chest with a fest while raising the other arm, while kneeling on one knee. This praise was done to greet the new-born sun or celebrate the animated soul of the king during "the recitation of Glorifications" ritual. The king was represented in the Henu posture during the Pharaonic period in the tombs. However, he was rarely represented in this posture on the walls of the temples. In the late period, statues of the kings in this posture appeared. During the Graeco-Roman period, the king was more frequently represented in this posture on the walls of the temples, precisely on the doors and windows. It could be an imitation of the souls of Pe and Nekhen that used to be represented flanking the doors the mortuary temples of the Old Kingdom.

English has become a global lingua franca unlike any language before. This has led to the increased pragmatic use of English by an increasing number of non-native speakers and, consequently, English as a lingua franca (ELF) has emerged. It has become a contact language between speakers of different mother tongues which has led to the blurring of strict regulatory frameworks formerly established by native English varieties. ELF speakers use English in creative ways and influenced by their native languages and cultures and the imitation of the native speaker has been pushed to the background in favor of successful communication. In order to facilitate the examination of this new type of English, several ELF corpora have been established, two of which are used for this study. The Vienna-Oxford International Corpus of English (VOICE) and the Asian Corpus of English (ACE) are both collections of spoken interactions between ELF speakers that have the same size and rely on the same coding system and search parameters, which make them readily comparable. While these corpora have already aided in the discovery of several common features of ELF in general, this study focuses on the lexico-grammatical feature of the pluralization of mass nouns by either adding the ‘s’ or some type of quantifier in European and Asian ELF. Results show that Asian ELF speakers are less likely to pluralize mass nouns than European ELF speakers. Yet, pluralization can be found in both types of ELF and this, along with other specific, non-standard features, raises questions for English language teaching and the status of native English.

Мета. Оцінка стабільності внутрішньої фіксації при виконанні різних видів надкісточкових корекційних остеотомій дистального відділу великогомілкової кістки шляхом дослідження жорсткісних параметрів біомеханічних моделей «фіксатор — кістка» при імітаційному комп’ютерному моделюванні методом скінченних елементів. Матеріали та методи. Дослідження включало створення солідних імітаційних комп’ютерних моделей біомеханічних систем «фіксатор — кістка» на базі програмного комплексу ANSYS з використанням контактних і 10-вузлових пірамідальних 3D SOLID187 СЕ. 3D-модель великогомілкової кістки створена на підставі комп’ютерного томографічного дослідження неушкодженої гомілки у здорової людини. У кожній моделі відтворено корекційну остеотомію в метаепіфізарній зоні дистального відділу великогомілкової кістки з подальшою фіксацією різними видами сучасних блокованих пластин з гвинтами. Проведено дослідження напружено-деформованого стану, визначені максимальні величини зусиль на стиск, згин та максимальні крутильні моменти за умови неперевищення переміщення 1,0 мм між кістковими фрагментами. Результати. Найбільш жорсткою та стабільною є біомеханічна система з передньолатеральною блокованою L-подібною пластиною, де допустимі зусилля на стиск і згин становлять 308 і 73 Н відповідно. При цьому ця система характеризується найбільшою величиною еквівалентних за Мізесом напружень у концентраторах гвинтів та пластини. Найменшу жорсткість на стиск (Pmax стиск = 151 Н), згин (Pmax згин = 19 Н) і кручення (Mmax = 2,46 Н/м) мала біомеханічна система, де застосовано медіальну блоковану пластину. Висновки. При плануванні медіальної корекційної надкісточкової остеотомії дистального відділу великогомілкової кістки з відкритим клином найбільшу стабільність та жорсткість фіксації забезпечує медіальна блокована пластина «puddi-plate», при плануванні медіальної остеотомії із закритим клином найбільшу стабільність при фіксації забезпечує медіальна блокована пластина з міні-гвинтами, а для латеральної корекційної остеотомії із закритим клином, передньої остеотомії та фокусної купольної корекційної остеотомії в даній анатомічній ділянці найкраще використовувати передньолатеральну L-подібну блоковану пластину.

According to Gabriel De Tarde, from the moment a person is born, she/he creates her own behavior by imitating those around her/his. Tarde, in his book "Laws of Imitation", which was published in a new edition in 1903; He mentions the importance of imitation and invention by saying "Everything socially is an invention or imitation, the relationship between the two is like the relationship between mountain and river"(Tarde, 1890 [1993]: 3). Moreover, in the same work, he once again mentions the social importance of imitation by saying "In order for an invention to be considered an invention, it must be imitable". Therefore, while creating human identity, which is a social being, it creates itself by feeding on the environment, people around it, literature and art. With the invention of cinema, this situation continues intensely by noticing the characteristics of movie characters and trying to resemble them. This process of imitation is also effective in the formation of the behaviors and therefore the emotions that come out with them. As the human being is also affected by the culture and historical processes she/he is in, she/he tries to create her/his own individuality within differences and samenesses. The article will discuss the performance and imitations of emotions based on Babis Makridis' film Oiktos (Zavallı, Babis Makridis, 2018), which has been in the current called 'Greek Strange Wave' in recent years, and will try to examine the film through Brauch Spinoza's concepts of affect and question the possibility of Ulus Baker's proposal for a sociology of emotions.. The questions of how human emotions are formed and how emotional behaviors are shaped will be asked through the anonymous main hero of the film and answers will be sought.

‘Covering’ previously recorded tracks is a central aspect of popular music. Despite an abundance of examples, discourse related to cover-version tracks is limited and includes questionable application of dichotomizing terminology (‘cover’, ‘version’) that can cause problems for interpreting the cover-version genre and diminish the nuanced approaches taken by artists who produce cover-versions. Examining recordings from the Punk Goes… album series reveals many examples that go beyond the either‐or cover/version dichotomy generally presented in musicology. As such, this article has three main aims: to investigate the ways in which Punk Goes… tracks innovatively move between the poles of cover and version, thus requiring a new analytical framework; to explore the connection between imitation and transformation to the ascription of cover and version; and to move beyond prior musicological scholarship that emphasizes formal elements and composer intention. This article presents a reclassification of the terms ‘cover’ and ‘version’ as extreme poles of a ‘cover-version spectrum’ dependent on the listener’s interpretation of the performative character. Analyses challenge assumptions that equate musical phrases with fixed musical meanings, suggesting instead that the interpreted manner of performance is more significant than syntactical concerns. This provides a structure for clearer examination of cover-versions and supports the view that semiotic methods are a vital tool in the analysis of recorded popular music.

I believe in personality plagiarism. Why? Because imitation is not only the highest form of flattery, it’s also one of the fastest forms of learning. For example, before writing my first scientific paper, I made a small pile of published articles that were especially lucid and compelling. Then I reread them.

This paper presents a hitherto unpublished essay by the Danish symbolist poet Sophus Claussen (1865-1931). The essay entitled ‘Leonardo da Vinci’ was intended for the collection Løvetandsfnug (‘dandelion fluff’), 1918, but was for unknown reasons omitted in the final edition. In the essay, Claussen recalls when, at the Uffizi Gallery in Florence in 1902–03, he saw a painting (perhaps by Leonardo da Vinci) depicting the Annunciation to the Blessed Virgin Mary. At the time, the Virgin Mary of the painting reminded Claussen of a young Danish girl with whom he had been hopelessly in love some ten years prior. The remembrance of this past experience, at the time of writing the essay in early or mid 1918, causes him to contemplate not only the artistic method of Leonardo, but also, more generally, the relationship between chastity and lust, nature and imitation, and art and science. ‘Leonardo da Vinci’ has never been described in the secondary sources on Claussen’s work. It is, however, arguably both interesting and exemplary for its dual role as both a biographical and poetological lead in his essays and in his oeuvre as a whole.

The Mistaʿarvim are Jewish undercover agents who masquerade as Arabs in order to infiltrate Palestinian and other Arab societies in the service of the Israeli military. The first Mistaʿarvim unit, ...

The study examines the aspect of the formation of speech in preschool children, as a unity of imitation and creativity. According to the Federal State Educational Standard of Preschool Education: «The speech development of children includes the possession of speech as a means of communication and culture; the enrichment of an active vocabulary; the development of coherent, grammatically correct dialogical and monological speech; the development of speech creativity; the development of sound and intonation culture of speech, phonemic hearing; acquaintance with book culture, children's literature, understanding by ear texts of various genres of children's literature; formation of sound analytical and synthetic activity as a prerequisite for literacy training» [3]. The «Concept of Preschool education» notes that «Imagination is the basis for the active participation of a child in various types of activities. It is included in the composition of already known forms of thinking (visual-effective, visual-figurative). On the basis of imagination, children develop the first manifestations of a creative attitude to reality» [4]. The article considers the views of teachers and methodologists on the speech development of preschool children. The method of speech development of preschool children is also described: the «Binomial fantasy» method. Binomial fantasies are used in two areas of the development of imagination and logic of thinking: - To generate ideas for new objects or the transformation of an existing object; - To get ideas for writing fairy-tale or fantastic stories (speech creation). The article reveals the algorithm of work according to the method, in accordance with two directions. The prospect of the research the theoretical substantiation of the unity of imitation and creativity in the formation of speech in preschool children.

The purpose of this research is to investigate the interior lighting environment of the registration room and waiting room of a bilateral lit clinic. Through measuring and comparing with computer-s...

This article intends to incorporate imitation, the creative emulation of existing texts, into the framework of Andre Lefevere’s rewriting theory. Building on past translation theories, recent schol...

Flexible production and perception of vocalizations is linked to an impressive array of cognitive capacities including language acquisition by humans, song learning by birds, biosonar in bats, and vocal imitation by cetaceans. Here, we characterize a portion of the repertoire of one of the most impressive vocalizers in nature: the humpback whale. Qualitative and quantitative analyses of sounds (units) produced by humpback whales revealed that singers gradually morphed streams of units along multiple acoustic dimensions within songs, maintaining the continuity of spectral content across subjectively dissimilar unit "types." Singers consistently produced some unit forms more frequently and intensely than others, suggesting that units are functionally heterogeneous. The precision with which singing humpback whales continuously adjusted the acoustic characteristics of units shows that they possess exquisite vocal control mechanisms and vocal flexibility beyond what is seen in most animals other than humans. The gradual morphing of units within songs that we observed is inconsistent with past claims that humpback whales construct songs from a fixed repertoire of discrete unit types. These findings challenge the results of past studies based on fixed-unit classification methods and argue for the development of new metrics for characterizing the graded structure of units. The specific vocal variations that singers produced suggest that humpback whale songs are unlikely to provide detailed information about a singer's reproductive fitness, but can reveal the precise locations and movements of singers from long distances and may enhance the effectiveness of units as sonar signals.

Plasma methods, where only electricity is required, are an alternative to the PUREX process used in industry for spent nuclear fuel reprocessing. It is considered the possibility of filtering out the target ions (М = 232…277) to the collector at the first turn of the ion trajectory in the plasma mass filter, which is currently being developed, that is achieved by specifying certain parameters (amplitude and frequency) for a variable component of a radial electric field. This approach significantly reduces the thermal load onto deposition surface of target ions.

Artykuł analizuje filmową powieść Jana Brzękowskiego Bankructwo profesora Muellera w perspektywie awangardowych eksperymentów z konwencjami powieściowymi. Przedstawia, w jaki sposób naśladowanie form zaczerpniętych z kina niemego przełożyło się na „kod bibliologiczny” (G. Bornstein), owocując nowatorskim układem typograficznym, za którego sprawą jednym z kluczowych elementów utworu stała się materialność tekstu (kompozycja typograficzna, dobór kroju, stopnia oraz odmian pisma). Ponadto zwraca uwagę na projekt graficzny, na który złożyły się elementy przygotowane przez innych artystów (Witkacy, S. Taeuber-Arp, H. Stażewski).

The essence of the concept of "timbre" and the technology of its formation with orchestral instruments and modern button accordion are analyzed. The influence of timbre determinants of an orchestral work on its translation for two button accordions is considered. The content of modal and intensive properties of timbre sound of both orchestral instruments and two button accordions, which are transmitted by sound waves in space and time, is substantiated. It was found that in order to achieve the maximum imitation identity of the sound of two button accordions, the author of the translation must take into account the "timbre vertical", "timbre horizontal" and "timbre diagonal" of the orchestral work. An algorithm for creating a translation of an orchestral work for two button accordions, which consists of the perception of the primary musical image (sound of orchestral instruments) and imaginary comparison with the secondary musical image (sound of two button accordions) at the perceptual-cognitive level of the artist is determined. Each "operation" of this algorithm, which occurs due to the associative chain principle and is accompanied by the search for imaginary invariants of the translation of an orchestral work for two button accordions, is described. It was found that in the process of comparing primary and secondary musical images, the characteristics of timbre sound waves from the broadcast of orchestral instruments remain unchanged, and the information represented from the long-term memory of the author of the translation of the orchestral work for two button accordions - acquires variability. The technology of searching for the most attractive variant of translation of an orchestral work for two button accordions is covered. Methods for achieving the saturation of the timbre sound of two button accordions similar to orchestral instruments are described. Examples of achieving the maximum imitation identity of the timbre sound of two button accordions to the timbre sound of orchestral instruments based on the perception of overtones of the sound of orchestral instruments and their transformation in the sound of two button accordions are demonstrated.

This research deals with an analytical study of the flirtatious introductions that came in the view of the praise poems that spread widely in the Ottoman era, where this study attempts to monitor the aspects of creativity and the status of poetic thought among some poets of the Levant in dealing with a broad poetic purpose is spinning, and how these poets benefited From the experiences of the ex throughout the ages and adding what is related to the spirit of their times on the one hand, and their personal perception about the issues of spinning and women and what they feel on the other hand, and this study relied on the analytical method that helps in clarifying the tradition and creativity in these introductions.

Introduction: Previous evidence suggests that improvisational music therapy (IMT) can be effective at improving social skills of children on the autism spectrum (CoS). To date, no published researc...

From excavation results of a pre-Roman Iron Age and Viking Age burialgroundin Västergötland, an example is presented ofhow religious meaning became projected into Viking Age burial ritual through imitation of an already then ancient custom. The burial-ground was abandoned for a period of at least 600 hundred years in between the two periods. In the Pre-Roman Iron Age and Viking Age graves the custom of depositing flakes of firecracked natural stone was documented. From a Viking Age perspective the tradition was imitated and derived from the urnfield burial-grounds ofther late pre-Roman Iron Age. The authors link the Viking Age ritual behaviour to the sagas, where stones are presented as symbolical representations of the human body and as cosmological parts of the skeleton that kept the earth together. In the interpretation it is argued that the very concrete use of older graves was essential in the Viking Age burial custom. In this specific example, the deposition of stones in the Viking Age ritual context is interpreted as a projection and representation of the past and the bodies of the dead.

The conclusions on prosodic pitch features in autism spectrum disorders (ASD) have primarily been derived from studies in non-tonal language speakers. This cross-linguistic study evaluated the performance of imitating Cantonese lexical tones and their non-linguistic (nonspeech) counterparts by Cantonese- and Mandarin-speaking children with and without ASD. Acoustic analyses showed that, compared with typically developing peers, children with ASD exhibited increased pitch variations when imitating lexical tones, while performed similarly when imitating the nonspeech counterparts. Furthermore, Mandarin-speaking children with ASD failed to exploit the phonological knowledge of segments to improve the imitation accuracy of non-native lexical tones. These findings help clarify the speech-specific pitch processing atypicality and phonological processing deficit in tone-language-speaking children with ASD.

The meaning of sacral art in the spiritual culture of Ukrainian people is scarcely explored. Analytic review of iconostases in Galicia during 19th and the first half of the 20th cnturies as a phenomenon of Ukrainian artistic culture may be used during the restoration of ancient religious buildings, as well as in construction of new ones. The aim of the research is a historical comparison as well as artistic and culturological analysis. A series of iconostases have been introduced into scientific circulation. The meaning of carved décor in Galician Ukrainians’ sacral culture has been outlined. The formation of iconostasis design in the sacred environment of Galicia is investigated. The dominant and accentuating role of the iconostasis in the design of the church interior is established. The artistic carving played an important role in the history and artistic features of the iconostasis. The artistic and figurative solution of iconostases was conducted with the imitation of historical styles and used imitation of the ornamental and compositional structures of traditional folk art. Consequently, a national style emerged that became an original phenomenon of world art. Prospects for further studies are in increasing the number of studied iconostases, in investigating the symbolism of carved décor and its meaning in the sacral culture of the Ukrainians. Furthermore, the traditions of the design of religious buildings may be applied in modern construction

Jewelry is one of the products that depend on the aesthetic aspect and to increase the aesthetic values. There are many ways to give it a shiny appearance and bright colors, but it has a high cost. Physical vapor deposition is one of the methods that increase aesthetic values as it adds many colors to the surface of the product and is similar to precious metals. Where the research problem lies in the possibility of using different coatings from alternatives to precious ores in the production of imitation jewelry and verifying its suitability to give quality qualities of color and luster and the goal of the research is to find alternatives to plating metals with the same degree of luster of precious metals, coating imitation jewelry with a low-cost coating with aesthetic values And constant bright colors, and upgrading the Egyptian counterfeit jewelry industry to enable it to compete with its expatriate counterparts. The importance of the research lies in the production of multiple layers of paint with multiple colors and a long-life span, and finding economical ways to paint imitation jewelry to raise the competitiveness of the Egyptian product. The research assumes that coating imitation jewelry with similar layers of precious metals has bright colors, lower economic cost and longer life span. The research follows a descriptive and analytical approach. One of the most important results of the research is to obtain the colors of precious metals For jewelers.

An inscription from Scythopolis (Beth Shean/Beisan) commemorates the actions of a late fourth-century governor who “in imitation of Hadrian ... rebuilt his own mother city.” This paper explores the memory of Hadrian in the Near East. It begins by examining Hadrian’s actions in the Near East, including the period prior to becoming emperor and his visit in 129/30 CE. It finishes with a discussion of Silvanus and Scythopolis and argues that Silvanus was responsible for repairing the odeum in the city which was damaged in the 363 CE earthquake. The inscription implies that there was strong memory of Hadrian as a builder in the late antique Near East.

In the sixteenth century, composing a parody Mass was a means to pay tribute to an admired piece and master the composing techniques shown therein. The parody Mass is grounded on the principles of imitation and emulation, on which the whole Renaissance rhetoric is based. This article analyses the Missa Quem dicunt homines by Palestrina. It stresses that in the Renaissance a musician could choose to compose a parody Mass, instead of a Mass on cantus firmus, not only to go towards the taste of his clients, and to suit his own preferences, but also to adhere to a certain rhetorical-pedagogical school of thought.

The neo-Darwinian paradigm is unable to account for the resilient, complex forms that evolve in nature and persist across time. Random mutations do not explain the occurrence of organisms that mimic complex forms in often astonishing detail. In the absence of God as creator, or random mutations as the basis for adaptive traits, there is something else going on. The case that I present in this article is that the only possible mechanism for mimicry in nature is imitation.

Currently, various imitators (imitation tools) are widely used to test various equipment and evaluate its parameters. The main goal of developing new imitation tools in the field of creating automated systems used in testing small arms is to accelerate and cheapen the development and implementation of such systems. The article discusses the general structure of information-measuring systems used in testing small arms based on acoustic and optical blocking devices, as well as on the basis of a video camera. Based on the considered structures, a classification of imitation tools (IT) is proposed: IT of digital data array (software), IT of analog signals of system sensors (hardware and software-hardware), IT of initiating effects on sensitive elements of the system (hardware and software-hardware). A detailed analysis of the comparative advantages and disadvantages of imitators of these types is carried out, possible difficulties in their creation, restrictions on the use of one or another implementation variety, as well as prospects for their development and application are described.&nbsp

Pitch content is an important component of song and speech. Previous studies have shown a pronounced advantage for imitation of sung pitch over spoken pitch. However, it is not clear to what extent matching of pitch in production depends on one’s intention to imitate pitch. We measured the effects of intention to imitate on matching of produced pitch in both vocal domains. Participants imitated pitch content in speech and song stimuli intentionally (“imitate the pitch”) and incidentally (“repeat the words”). Our results suggest that the song advantage exists independently of whether participants explicitly intend to imitate pitch. This result supports the notion that the song advantage reflects pitch salience in the stimulus. On the other hand, participants were more effective at suppressing the imitation of pitch for song than for speech. This second result suggests that it is easier to dissociate phonetic content from pitch in the context of song than in speech. Analyses of individual differences showed that intention to imitate pitch had larger effects for individuals who tended to match pitch overall in production, independent of intentions. Taken together, the results help to illuminate the psychological processes underlying intentional and automatic vocal imitation processes.

Стаття присвячена визначенню ролі графічних зразків, що поширювалися з країн Західної та Центральної Європи на територію Речі Посполитої, зокрема, Східної Галичини у XVIII ст., у формуванні творчості місцевих художників-монументалістів. Важливим є питання про способи використання та адаптації графічних зразків угалицьких храмах місцевими майстрами, що впливало на формальні риси місцевих поліхромних реалізацій. Розкриття даної проблематики залишається на сьогодні актуальним при проведенні формально-генетичного аналізу стінописів католицьких храмів Галичини, що є одним із ключових способів атрибуції творів мистецтва. У статті розглядаються три способи використання гравюр місцевими художниками та ступені відповідності реалізованих поліхромій графічним зразкам: «повторення гравюри» («contaminatio»), «наслідування» («imitatio») та «інспірація», («aemulatio»). Саме останній з наведених способів був найбільш поширений на теренах Східної Галичини. Наводяться численні приклади поліхромних реалізацій у галицьких храмах та приклади їх західно- та центральноєвропейських графічних відповідників. Це є свідченням того, що архітектонічні трактати та графічні збірки відігравали важливу роль у формуванні творчості місцевих майстрів та були важливим джерелом для їх інспірації.

The purpose of this study was to examine facial affect of young children who completed a singing task that included imitation and improvisation. Eighty-nine children (4–6 years: 45 male and 44 female participants) completed three singing conditions from a standard singing test battery (i.e., Advancing Interdisciplinary Research in Singing-Test Battery of Singing Skills [AIRS-TBSS]). These included singing a favorite song, imitating a song, and improvising a song ending. Facial affect was analyzed with Noldus FaceReader software, and subjective responses also were collected. Results revealed children exhibited a happy emotion most prominently during the improvisation and favorite song conditions compared with the imitation condition. However, a higher percentage of surprised emotions were found during the imitation condition. Frequency analysis revealed a significantly different range and final note for the improvisation condition compared with imitation. Children’s self-reported ratings of happiness were related to their displayed facial affect (i.e., happiness) scores in FaceReader ( p

This paper focusses on colour terminology as a tool for achieving ἐνάργεια (pictorial vividness) in the Latin poetry of the first century c.e. After briefly outlining the developments in the concept of ἐνάργεια from Aristotle to Quintilian, the paper considers the use of Latin terms for black in three descriptive passages from Statius’ epic poem, the Thebaid. It is observed that the poet privileges the juxtaposition of the two adjectives ater and niger in a pattern of uariatio, where ater often carries a figurative meaning and repeats established poetic clichés, while niger is part of unparalleled collocations that evoke a material notion of blackness. Further analysis of the uariatio in the context of each passage reveals that the juxtaposition of the two-colour terms enhances the vividness of the objects described not only by increasing their chromatic impact but also by establishing connections with other parts of the poem, and by inviting a reflection on the competing practices of imitation and transgression of poetic models. The analysis of one stylistic feature (the use of colour terms in uariatio) shows that this stylistic feature is used by Statius for achieving ἐνάργεια as an artistic effect, for reflecting on ἐνάργεια as an instrument through which poetic models are challenged, and for tying his own poetic practice to contemporary rhetorical discussions.

The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957). Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant. Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretation of serial technique (Glivinsky, 1995; Rogers, 2004; Straus, 1999; Smyth, 2000). N. Kardash (2010) offers a multidisciplinary textological approach in the studying of recent opera and ballet. Renaissance dance forms are studied in “Agon” by M. Richardson (2003). Characteristics of later works are contained in the section of the monograph of M. Druskin (2009). V. Zaderatsky’s monograph (1980) is devoted to the polyphonic thinking of the composer. Historical, comparative, functional, systematic research methods are used in the work. Results. I. Stravinsky’s original orchestral writing was formed in his early works (1908–1910). They gradually formed the principles of multifigure, combinativity (Savchenko, 2019; Savchenko, 2020) and plasticity, found out by us, as universal principles of the composer’s orchestral writing. In the ballet “Agon” the composer applied a serial technique that determines the key role of polyphonic techniques of work with thematic invention, respectively, the dominance of horizontal thinking. At the same time in the creative comprehension and elaboration of techniques of serial technique the composer relies on the methods developed in his works (“formular” thematic invention, motives rotation technique, counterpoint combination of them) (Druskin, 2009, p. 226–227), motive-variant work (Savenko, 2001). Accordingly, ballet acts can be divided into two groups: with horizontal or horizontal/vertical priority in the organization of the orchestral texture. Where the priority is horizontal, we highlight the following variants of the composition of the orchestral texture: 1) monophony (unison) or splitting of unison 2) texture based on the counterpoint interaction of short lines (sometimes — sound points); 3) on the basis of contrasting polyphony; 4) on the basis of imitation polyphony. Conclusions. 1) In the orchestral writing of acts with horizontal/vertical priority, the constant principles of multifigure, combinativity and plasticity remain dominant; 2) Where the horizontal is a priority, innovative principles of organization of the orchestral texture prevail; constant principles are revealed covertly or in a modified form; 3) At the level of a ballet composition as a whole, the alternation of different types of organization of the orchestral texture is formed, in which different ideas about time and space are embodied; thoughtful timbre strategy and handling of different types of orchestral texture give rise to the original timbre-texture structure of the work.

This article explores the library practices of the physician, President of the Royal Society, and omnivorous collector Sir Hans Sloane (1660–1753). It situates his approach within the wider context...

Most birds, including songbirds, produce distinct, species-specific songs and calls. Here, I report on an individual bird of the Neotropical warbler genus Myiothlypis that produced vocalizations typical of two congeneric species. The “bilingual” bird, observed in the Serra dos Cocais region of Sao Paulo state, Brazil, appeared visually to be a White-browed Warbler (Myiothlypis leucoblephara) but was documented emitting songs and calls of that species and of Flavescent Warbler (Myiothlypis flaveola). Two possible explanations, not mutually exclusive, are raised and discussed, i.e., (i) hybridization between the two species, previously undocumented, and (ii) vocal imitation of both species assimilated into its vocal repertoire.

This essay describes Abraham Cowley’s tendency, apparent throughout his work but particularly in his collected editions of 1656 and 1668, to embrace the imitation of literary models to an extent that, as he admits, can be disconcerting for readers and interfere with the literary representation of history and his own experience. Cowley’s poetic rethinking of the legacies of Homer, Pindar, the Anacreontea, Vergil, and Claudian parallels his resistance to mimetic treatment of his life and passions. This orientation toward literary history at the expense of representation, the essay argues, is rooted in a distinctive and compelling theory of interpretation, whose significance beyond Cowley’s work is revealed by the struggles of critics from the eighteenth century to the present to make sense of the relationship between life and art in his verse. These critics unwittingly demonstrate the prescience of Cowley’s depiction of reading and interpretation as potentially alienating ruptures of the connections between poems and their subject matter.

Response of the Chaghatay Poet Navoiy to the Persian Poet Nizami: the Timurid Sultan like the "Refuge of Sharia". When Nizamiddin Mir Alisher Navoiy rewriter a famous apologue from Nizami's Makhzan al-asrar through which the Persian poet sought to illustrate the injustice kings demonstrated towards their subjects, the exercise goes far beyond the exhibition of literary virtuosity. Not satisfied with giving an alternative end to the narrative which contrary to its model highlighted sultan Husayn Bayqara's justice, the ruler at that time whom the Chaghatay poet did not hesitate to introduce in this text, the imitation begins to look like an en exhortation addressed to the Prince that should ensure the full implementation of the Sharia.

Among the important components of the decorative art of any people is the technology of making images. One of the forms of this technology is the basic technique (from Turk Baysa – “imprint”), which is one of the forms of realization of the imitation style. Using various forms (including – Baysa-technology) masters of different cultures and peoples sought in their creations imitating / copying works of more complex technology and, accordingly, more expensive. In fact, we are talking about imitation (de facto – about fakes) of affordable means of expensive samples. The review of the development of the Baysa-technique in the art of the Western Balts made it possible to make the ceremonial and status character of the items made in I thousand. AD the base method. KEY WORDS: art of the Balts, Baysa-technique. doi:http://dx.doi.org/10.15181/rh.v22i0.1625

This paper is a study of the seven libraries of Siku quanshu and Tianyige from the perspective of imitation of imperial gardens in Qing Dynasty. Firstly, this paper analyses Tianyige, the prototype...

This paper examines the coupling in early texts of two masters, Yang Zhu 楊朱 and Mo Di 墨翟. The two thinkers are most famously paired in the Mencius as the prominent preachers of extreme doctrines, while they are also sometimes presented in other early texts such as the Zhuangzi and Han Feizi as useless debaters on trivial topics. These alternative portrayals of Yang-Mo are usually simplified as a second-rate imitation or repetition of the standard Mencian depiction. The paper argues that such a reading represents a serious misunderstanding of the pre-imperial textual transmission. Unfamiliarity with Yang-Mo as sophists may also be the result of the unconscious acceptance of Mencius’ description. The unconventional portrayal of Yang-Mo, very likely relatively unrelated to Mencius’ portrayal, had its own history in early China. Presented in various contexts, this alternative Yang-Mo image was once circulated in various forms for different intended audiences. ispartof: Asian Studies vol:9 issue:1 pages:203-224 status: published