Pub Date : 2020-09-17DOI: 10.24919/2308-4863.2/30.212295
N. Humeniuk
The following work deals with the investigation of the Expressive means and Stylistic devices used by Jeremy Corbyn within the Question Time of the UK Prime Minister discourse, 09.04.19, with the purpose to discredite the UK Prime Minister Boris Johnsons and his Conservative Party as a whole. It is underlined that the Question Time of the UK Prime Minister discourse as a subtype of the parliamentary debates discourse is an aggressive, conflict, confronting communication. It has the global strategic purpose to gain and retain power and the immediate purposes to discredite opponents, to praise the allies, to make self-praising, self-presentation. The long-term struggle of the Conservative and Labour Parties for power in the country determines the confronting nature of the Question Time of the UK Prime Minister discourse in the House of Commons. It is underlined that discrediting means to diminish somebody’s authority, significance and importance with the aim to dominate, to be the leader, deprive opponents to be leaders. It is pointed out that Jeremy Corbyn uses the discrediting tactics “Opponent is a liar”, “Opponent is non-professional, incompetent”. It is stressed that all the used tactics are intertwined and interconnected within the given discourse and aimed to discredite the individual or the collective opponent. It is pointed out that realization of these tactics is possible with the help of the Stylistic devices and Expressive means usage to provoke the addressee attention to the information important for the addressor of message. This is possible to realize by appealing to the feelings and emotions of the addressee, by making the given information stressed and acute with its elements used in the unusual or strong position, by using a great many of provoking elements within the limited space of message. It is stated that Jeremy Corbyn uses a set of Stylistic devices and Expressive means to realize the discrediting opponent tactics: metaphors, detachments, parenthetical sentences, climax, enumerations, repetitions, parallel constructions, epithets, nominative sentences, intensifiers, antithesis, transposition.
{"title":"STYLISTIC ASPECT OF THE JEREMY CORBYN REALIZATION OF THE DISCREDITING OPPONENT TACTICS WITHIN THE UK PRIME MINISTER QUESTION TIME DISCOURSE, 09.04.2019","authors":"N. Humeniuk","doi":"10.24919/2308-4863.2/30.212295","DOIUrl":"https://doi.org/10.24919/2308-4863.2/30.212295","url":null,"abstract":"The following work deals with the investigation of the Expressive means and Stylistic devices used by Jeremy Corbyn within the Question Time of the UK Prime Minister discourse, 09.04.19, with the purpose to discredite the UK Prime Minister Boris Johnsons and his Conservative Party as a whole. It is underlined that the Question Time of the UK Prime Minister discourse as a subtype of the parliamentary debates discourse is an aggressive, conflict, confronting communication. It has the global strategic purpose to gain and retain power and the immediate purposes to discredite opponents, to praise the allies, to make self-praising, self-presentation. The long-term struggle of the Conservative and Labour Parties for power in the country determines the confronting nature of the Question Time of the UK Prime Minister discourse in the House of Commons. It is underlined that discrediting means to diminish somebody’s authority, significance and importance with the aim to dominate, to be the leader, deprive opponents to be leaders. It is pointed out that Jeremy Corbyn uses the discrediting tactics “Opponent is a liar”, “Opponent is non-professional, incompetent”. It is stressed that all the used tactics are intertwined and interconnected within the given discourse and aimed to discredite the individual or the collective opponent. It is pointed out that realization of these tactics is possible with the help of the Stylistic devices and Expressive means usage to provoke the addressee attention to the information important for the addressor of message. This is possible to realize by appealing to the feelings and emotions of the addressee, by making the given information stressed and acute with its elements used in the unusual or strong position, by using a great many of provoking elements within the limited space of message. It is stated that Jeremy Corbyn uses a set of Stylistic devices and Expressive means to realize the discrediting opponent tactics: metaphors, detachments, parenthetical sentences, climax, enumerations, repetitions, parallel constructions, epithets, nominative sentences, intensifiers, antithesis, transposition.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"186 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123652355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.2/30.212266
Yaqut Akhundova
types of speech activity and, according to many methodologists, should be developed better than other skills. One of the practical tasks in the field of listening is to teach students the perception of foreign language in conditions that are close to real.
{"title":"MODELING THE PROCESS OF AUDITORY PERCEPTION AND THE DEVELOPMENT OF LISTENING INSTRUCTION TECHNOLOGY","authors":"Yaqut Akhundova","doi":"10.24919/2308-4863.2/30.212266","DOIUrl":"https://doi.org/10.24919/2308-4863.2/30.212266","url":null,"abstract":"types of speech activity and, according to many methodologists, should be developed better than other skills. One of the practical tasks in the field of listening is to teach students the perception of foreign language in conditions that are close to real.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129566240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.2/30.212280
M. Bondarenko
This article seeks to discover approaches to translating literary translingualism, which constitutes an essential component of James Joyce’s artistic method. The study is based on the latest Ukrainian edition of the novel Ulysses translated by Oleksandr Terekh and Oleksandr Mokrovolskyi (2018). Relying on the definition of translingualism as “phenomenon of authors who write in more than one language or at least in a language other than their primary one” (Kellmann, 2000: ix), I suggest that unlike bi- and multilingualism, i.e. co-existence of two and more languages within a literary text, translingualism involves code-mixing rather than code-switching. Following Maria Tymoczko’s basic characteristics of postcolonial writing, I argue that translingualism also manifests itself in the works of the authors with bi- or multilingual background in the form of perturbations in lexis (imported lexical items, unusual collocations, non-standard frequency distributions, variant semantic fields and occasionalisms), unusual syntax and defamiliarized language. The analysis of 125 instances of translingualism demonstrates that homogenization of the translingual narrative is applied in the majority of cases (42%). However, total elimination of the foreign component is considered least desirable for rendering translingual elements. The neutralization tendency is often observed in instances of grammatical interference. The substitution of the ST translingual element with vernacularism or dialectal word is observed in 24% of the analyzed examples. Such strategy is effective for rendering Hiberno-English expressions as the latter function as vernacular in ST. Though the translingual element is also eliminated, the text preserves its stylistic and pragmatic function. Zero translation with a footnote, found in 19% of cases, is successfully used as means of compensation in case of multi- and translingual clusters. Finally, transliteration and loan translation is the least frequent strategy used by the Ukrainian translators of Ulysses (15%). It is particularly effective for rendering Joyce’s occasionalisms.
文学翻译主义是詹姆斯·乔伊斯艺术方法的重要组成部分，本文试图探索文学翻译主义的翻译方法。这项研究基于乌克兰最新版的小说《尤利西斯》，由亚历山大·特列克和亚历山大·莫克罗夫斯基(Oleksandr Terekh and Oleksandr Mokrovolskyi)翻译。根据翻译主义的定义，即“作者用一种以上的语言写作，或者至少用一种母语以外的语言写作的现象”(Kellmann, 2000: ix)，我认为，与双语和多语主义(即在文学文本中共存两种以上的语言)不同，翻译主义涉及代码混合而不是代码转换。根据Maria Tymoczko后殖民写作的基本特征，我认为翻译主义也表现在双语或多语背景的作者的作品中，表现为词汇的扰动(引进词汇、不寻常的搭配、不标准的频率分布、变异的语义场和偶次主义)、不寻常的句法和陌生化的语言。对125个翻译案例的分析表明，大多数情况下(42%)存在译语叙事同质化现象。然而，对于翻译语言元素来说，完全消除外来成分被认为是最不可取的。中和倾向经常在语法干扰的情况下观察到。在分析的例句中，有24%的译语成分被白话或方言词所替代。这种策略可以有效地使希伯诺-英语表达在圣中发挥白话的功能，虽然也消除了译语元素，但文本保留了其风格和语用功能。在19%的案例中，有脚注的零翻译被成功地用作多语言和跨语言集群的补偿手段。最后，音译和借译是乌克兰语《尤利西斯》译者使用频率最低的策略(15%)。它特别有效地表现了乔伊斯的偶然性。
{"title":"TRANSLINGUALISM TRANSLATED: APPROACHES TO RENDERING JAMES JOYCE’S LINGUAL EXPERIMENTS (AS BASED ON THE UKRAINIAN EDITION OF THE NOVEL ULYSSES TRANSLATED BY O. TEREKH AND O. MOKROVOSLKYI)","authors":"M. Bondarenko","doi":"10.24919/2308-4863.2/30.212280","DOIUrl":"https://doi.org/10.24919/2308-4863.2/30.212280","url":null,"abstract":"This article seeks to discover approaches to translating literary translingualism, which constitutes an essential component of James Joyce’s artistic method. The study is based on the latest Ukrainian edition of the novel Ulysses translated by Oleksandr Terekh and Oleksandr Mokrovolskyi (2018). Relying on the definition of translingualism as “phenomenon of authors who write in more than one language or at least in a language other than their primary one” (Kellmann, 2000: ix), I suggest that unlike bi- and multilingualism, i.e. co-existence of two and more languages within a literary text, translingualism involves code-mixing rather than code-switching. Following Maria Tymoczko’s basic characteristics of postcolonial writing, I argue that translingualism also manifests itself in the works of the authors with bi- or multilingual background in the form of perturbations in lexis (imported lexical items, unusual collocations, non-standard frequency distributions, variant semantic fields and occasionalisms), unusual syntax and defamiliarized language. The analysis of 125 instances of translingualism demonstrates that homogenization of the translingual narrative is applied in the majority of cases (42%). However, total elimination of the foreign component is considered least desirable for rendering translingual elements. The neutralization tendency is often observed in instances of grammatical interference. The substitution of the ST translingual element with vernacularism or dialectal word is observed in 24% of the analyzed examples. Such strategy is effective for rendering Hiberno-English expressions as the latter function as vernacular in ST. Though the translingual element is also eliminated, the text preserves its stylistic and pragmatic function. Zero translation with a footnote, found in 19% of cases, is successfully used as means of compensation in case of multi- and translingual clusters. Finally, transliteration and loan translation is the least frequent strategy used by the Ukrainian translators of Ulysses (15%). It is particularly effective for rendering Joyce’s occasionalisms.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134551670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.1/30.212215
Tetiana Maskovych, Khrystyna Kazymyriv
The article characterizes and focuses on the uniqueness of acapella psalm genre in the creative works of contemporary composer Hanna Havrylets, who synthesizes the subtleties of traditions of liturgical singing genres with the techniques of modern poetics of choral art in a special way. The predominance of the Word in the music, and even more an opportunity to fill it with a sacred meaning, embodying the outlines of the latest undertones, transfers the images onto the plane of high art. The spiritual and sacred origin is for her deeply natural, indivisible and mentally inherited in her sense of past, present and future. Her works are full of unique national symbols, which determines the trespassing of semantics of the established genres beyond the traditional models of paraliturgical and ecclesiastical sphere by interpreting different genre concepts, where not only melodic linearity is the foundation of musical material, but also the nature of texture and acoustic space. Within the framework of genre modelling, on the basis of ancient traditions, as well as the examples of interpretation of psalm singing principle, the peculiarities of their compositional author’s construction were formed. The original choral works of spiritual orientation, presented in the works of Hanna Havrylets, are an organic part of Ukrainian liturgical creativity, wonderful samples of national historical-cultural tradition, which flourished out and became practically the main factor of modern composers’ entry into the latest artistic process. The outlines of canonical forms and texts in the composer`s works fascinates with special mysticism and prayerfulness, where certain inner concentration and confession are prevailing, which becomes the main feature of her compositional style as of today. Exactly in this way the sacred choral music of H. Havrylets, being so unique, flows into the general modern tendencies of today's compositional creativity.
{"title":"GENRE OF THE CHORAL ACAPELLA PSALM IN THE CREATIVITY OF HANNA HAVRYLETS","authors":"Tetiana Maskovych, Khrystyna Kazymyriv","doi":"10.24919/2308-4863.1/30.212215","DOIUrl":"https://doi.org/10.24919/2308-4863.1/30.212215","url":null,"abstract":"The article characterizes and focuses on the uniqueness of acapella psalm genre in the creative works of contemporary composer Hanna Havrylets, who synthesizes the subtleties of traditions of liturgical singing genres with the techniques of modern poetics of choral art in a special way. The predominance of the Word in the music, and even more an opportunity to fill it with a sacred meaning, embodying the outlines of the latest undertones, transfers the images onto the plane of high art. The spiritual and sacred origin is for her deeply natural, indivisible and mentally inherited in her sense of past, present and future. Her works are full of unique national symbols, which determines the trespassing of semantics of the established genres beyond the traditional models of paraliturgical and ecclesiastical sphere by interpreting different genre concepts, where not only melodic linearity is the foundation of musical material, but also the nature of texture and acoustic space. Within the framework of genre modelling, on the basis of ancient traditions, as well as the examples of interpretation of psalm singing principle, the peculiarities of their compositional author’s construction were formed. The original choral works of spiritual orientation, presented in the works of Hanna Havrylets, are an organic part of Ukrainian liturgical creativity, wonderful samples of national historical-cultural tradition, which flourished out and became practically the main factor of modern composers’ entry into the latest artistic process. The outlines of canonical forms and texts in the composer`s works fascinates with special mysticism and prayerfulness, where certain inner concentration and confession are prevailing, which becomes the main feature of her compositional style as of today. Exactly in this way the sacred choral music of H. Havrylets, being so unique, flows into the general modern tendencies of today's compositional creativity.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123124902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.1/30.212200
A. Guliyeva
symphonic and orchestral music, choir, ballad, songs and romances, theatrical music, etc. composers have composed numerous works. The study of these works, the study of the unity of music and poetry of Huseyn Javid on their example is of great importance in musicology. At the same time, it is important to study these works in accordance with the characteristics of their genre. Studying issues related to the musical embodiment of Huseyn Javid’s creativity, directs musicologists to solve problems such as “poetry and music”, “theater and music”.
{"title":"THE EMBODIMENT OF HUSEYN JAVID’S CREATIVITY IN MUSIC","authors":"A. Guliyeva","doi":"10.24919/2308-4863.1/30.212200","DOIUrl":"https://doi.org/10.24919/2308-4863.1/30.212200","url":null,"abstract":"symphonic and orchestral music, choir, ballad, songs and romances, theatrical music, etc. composers have composed numerous works. The study of these works, the study of the unity of music and poetry of Huseyn Javid on their example is of great importance in musicology. At the same time, it is important to study these works in accordance with the characteristics of their genre. Studying issues related to the musical embodiment of Huseyn Javid’s creativity, directs musicologists to solve problems such as “poetry and music”, “theater and music”.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122022059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.1/30.212191
Sugra Alakbarli
This article discusses the psychology of prose in Azerbaijani literature in the 2000s. The impact of socio-political events in Azerbaijan on the emerging literary examples, new types of psychological heroes in prose are analyzed. The heroes that society has given to literature are so diverse and numerous that as if no author could save his/her hero from the grip of social problems and raise him/her to a level where he/she could live with the feelings of becoming a world hero. Either they could not free the protagonist from social problems and bring the world to the level of literary thinking, or they had difficulty in doing so. The socio-political, moral and spiritual environment in Azerbaijan in the 2000s did not pass unnoticed in our literature. In this regard, Azerbaijani poetry, like Azerbaijani drama, our prose works could not remain indifferent to the problems created by time. As a result, people who carried the horrors of war in their souls and minds even after the war, people who sought ways to get rid of unemployment, despair and other social problems or could not get rid of these problems became the literary heroes of our prose. The article will focus on the works of Sabir Ahmadli and Agil Abbas. In the prose of Azerbaijan in the 2000s, we often see the achievement of our independence, the horrors of the January 20 tragedy, the tragedies of the Karabakh conflict, the deep despair of the social problems of the people. Sabir Ahmadli’s “Ömür urası”(“Hurray of Life”) and Agil Abbas’ s “Dolu” (“Hail”), which we pay more attention to, are about the struggle for independence, the horrors of the Karabakh war, the social problems faced by people, the miserable situation facing society, the death of hopes. The heroes in the works of the above-mentioned writers – commanders, tigers, dragons, teachers, secretaries, etc. are the psychological heroes of the time. The spiritual and psychological world, thoughts and feelings of each of them described in the works formed the socio-political environment of Azerbaijan at that time. In the prose of the 2000s, we will begin to follow the odyssey of the heroes of the period, as if dictated to the author. The human images and characters of the works we are going to discuss are the fruit of the Azerbaijani society of this period. Therefore, during the analysis, we will pay attention to the real event, social situation or historical fact that gave rise to the psychological hero. In this case, we think that we will be able to more accurately analyze the psychological portrait of the hero created by time.
{"title":"PSYCHOLOGICAL HEROES CREATED BY TIME (A STUDY OF AZERBAIJANI PROSE IN 2000S)","authors":"Sugra Alakbarli","doi":"10.24919/2308-4863.1/30.212191","DOIUrl":"https://doi.org/10.24919/2308-4863.1/30.212191","url":null,"abstract":"This article discusses the psychology of prose in Azerbaijani literature in the 2000s. The impact of socio-political events in Azerbaijan on the emerging literary examples, new types of psychological heroes in prose are analyzed. The heroes that society has given to literature are so diverse and numerous that as if no author could save his/her hero from the grip of social problems and raise him/her to a level where he/she could live with the feelings of becoming a world hero. Either they could not free the protagonist from social problems and bring the world to the level of literary thinking, or they had difficulty in doing so. The socio-political, moral and spiritual environment in Azerbaijan in the 2000s did not pass unnoticed in our literature. In this regard, Azerbaijani poetry, like Azerbaijani drama, our prose works could not remain indifferent to the problems created by time. As a result, people who carried the horrors of war in their souls and minds even after the war, people who sought ways to get rid of unemployment, despair and other social problems or could not get rid of these problems became the literary heroes of our prose. The article will focus on the works of Sabir Ahmadli and Agil Abbas. In the prose of Azerbaijan in the 2000s, we often see the achievement of our independence, the horrors of the January 20 tragedy, the tragedies of the Karabakh conflict, the deep despair of the social problems of the people. Sabir Ahmadli’s “Ömür urası”(“Hurray of Life”) and Agil Abbas’ s “Dolu” (“Hail”), which we pay more attention to, are about the struggle for independence, the horrors of the Karabakh war, the social problems faced by people, the miserable situation facing society, the death of hopes. The heroes in the works of the above-mentioned writers – commanders, tigers, dragons, teachers, secretaries, etc. are the psychological heroes of the time. The spiritual and psychological world, thoughts and feelings of each of them described in the works formed the socio-political environment of Azerbaijan at that time. In the prose of the 2000s, we will begin to follow the odyssey of the heroes of the period, as if dictated to the author. The human images and characters of the works we are going to discuss are the fruit of the Azerbaijani society of this period. Therefore, during the analysis, we will pay attention to the real event, social situation or historical fact that gave rise to the psychological hero. In this case, we think that we will be able to more accurately analyze the psychological portrait of the hero created by time.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115345722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.1/30.212189
A. Abushova
The article is dedicated to the study of the historical development and theoretical foundations of “Chahargah” mugham, which has a special place in Azerbaijani music. Azerbaijani mugam art, which is important in the general system of Eastern culture, developed as a creative product of professional performers, passed down from generation to generation and took a special place in the musical treasury. Thanks to the outstanding masters of Azerbaijan, the art of mugham has conquered the world and today has created a musical heritage rich in its colorful interpretations. The historical and theoretical study of mughams are important issues in mugham studies. In the heritage of mugam, each mugam has its own place and importance, history of development, way of improvement. The study of all this allows us to shed light on the evolution of the art of mugham and actualizes research in this area. The involvement of each of the mugham instruments in the study allows for a deeper understanding of historical and theoretical issues, from this point of view, the study of the performance options of a mugham is especially noteworthy and necessary. A comparative study of the performance options of the mugham instrument, along with the study of its historical development, also reveals the evolutionary process manifested in the language of music, all of which determines the relevance of the study. All these issues are considered in the article on the example of “Chahargah” mugham. The author illuminates the historical development of “Chahargah” mugham through the study of mugham compositions reflected in historical research, medieval sources, mugham tables and curricula, as well as explores the performance variants of “Chahargah” mugham in recordings and notes and reveals their peculiarities. At the same time, the structural features of "Chahargah" mugham, the basis of the moment, the forms of melodic development were studied, the general and different features of the variants of mugam were systematized.
{"title":"ISSUES OF HISTORICAL-THEORETICAL RESEARCH OF “CHAHARGAH” MUGHAM IN AZERBAIJANI MUSIC ART","authors":"A. Abushova","doi":"10.24919/2308-4863.1/30.212189","DOIUrl":"https://doi.org/10.24919/2308-4863.1/30.212189","url":null,"abstract":"The article is dedicated to the study of the historical development and theoretical foundations of “Chahargah” mugham, which has a special place in Azerbaijani music. Azerbaijani mugam art, which is important in the general system of Eastern culture, developed as a creative product of professional performers, passed down from generation to generation and took a special place in the musical treasury. Thanks to the outstanding masters of Azerbaijan, the art of mugham has conquered the world and today has created a musical heritage rich in its colorful interpretations. The historical and theoretical study of mughams are important issues in mugham studies. In the heritage of mugam, each mugam has its own place and importance, history of development, way of improvement. The study of all this allows us to shed light on the evolution of the art of mugham and actualizes research in this area. The involvement of each of the mugham instruments in the study allows for a deeper understanding of historical and theoretical issues, from this point of view, the study of the performance options of a mugham is especially noteworthy and necessary. A comparative study of the performance options of the mugham instrument, along with the study of its historical development, also reveals the evolutionary process manifested in the language of music, all of which determines the relevance of the study. All these issues are considered in the article on the example of “Chahargah” mugham. The author illuminates the historical development of “Chahargah” mugham through the study of mugham compositions reflected in historical research, medieval sources, mugham tables and curricula, as well as explores the performance variants of “Chahargah” mugham in recordings and notes and reveals their peculiarities. At the same time, the structural features of \"Chahargah\" mugham, the basis of the moment, the forms of melodic development were studied, the general and different features of the variants of mugam were systematized.","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122687234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.2/30.212277
Наталя Білоус
{"title":"МОТИВИ САМОТНОСТІ В ПОЕЗІЇ АННЕТТЕ ФОН ДРОСТЕ-ГЮЛЬСХОФ","authors":"Наталя Білоус","doi":"10.24919/2308-4863.2/30.212277","DOIUrl":"https://doi.org/10.24919/2308-4863.2/30.212277","url":null,"abstract":"","PeriodicalId":443470,"journal":{"name":"Humanities science current issues","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131043421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.24919/2308-4863.1/30.212201
S. Guliyeva
The article is devoted to the study of the main features of the use of traditional music by Azerbaijani composers in the piano. The deep roots of the musical language of Azerbaijani composers are connected with traditional music. Branches of traditional music – folk music, ashug and mugham – have become sources of the composer’s creativity. In the development stages of Azerbaijani music, the connection of the composer’s creativity with traditional music is obvious. Therefore, the problem of “Traditional music and composer’s creativity" is important in musicology. The national features of the Azerbaijani musical stylistic were formed as a result of the interaction of the composer’s creativity with the fields of traditional music. The tendencies of modern music are also organically connected with national roots. In the composer’s work, the connection with national roots is revealed individually. Therefore, the approach of composers to traditional music, the study of ways of creative use of traditional music is put forward as one of the necessary issues. However, the individual approach to traditional music in the composer’s work created conditions for the formation of common national features. Such features are found in the means of musical expression – melody, rhythm, harmonic and polyphonic structure, etc. manifests itself. Piano works of Azerbaijani composers were studied in the context of national features, in particular, the use of ashug works in composers’ works was studied. The author has studied the fundamental importance of traditional music in the formation and development of the Azerbaijani school of composition, explained the ways of applying the basic structural and compositional principles of Azerbaijani traditional music genres, musical features in the composer’s work. At the same time, the piano works of Azerbaijani composers were considered and the genre features and musical language of the works related to the ashug music were analyzed. The piano works reflect the study of ways to use the work of ashugs, the characterization of aspects arising from the synthesis of the principles of traditional music and composition.
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Pub Date : 2020-09-11DOI: 10.24919/2308-4863.1/30.212216
Віктор Вадимович Михалевич
У статті прослідковується, що на початку XX століття в Одесі з’явилося багато різних гумористичних видань, таких як: «Шпилька», «Колейдоскоп», «Комар», «Маяк», «Пчелка», «Оса», «Сверчок», «Крокодил», «Фонтан», «Одесский листок», «Одесские новости», «Бомба» та інші. У гумористичних журналах тодішні події відобразились у вигляді сміливих карикатур на владу, шаржів на чиновників та різних критичних ілюстрацій. Їх робили молоді талановиті одеські художники, що приймали участь у видавничій справі Одеси. Стаття висвітлює одеський період творчості художників-карикатуристів початку XX століття: Лінського, Дрізо, Фазіні, Олесевича, Антоновського, Цалюка. Карикатуристи критикують та висміюють своїми рисунками усе, що на їхню думку того заслуговує. Ілюстрації робляться з оригінальним одеським гумором. Художники змогли передати у своїх іронічних малюнках історичні події та культурну атмосферу Одеси. Аналізуються графічні особливості карикатур у сатиричних виданнях та простежуються стилістичні трансформації у деяких карикатуристів в конкретний період часу. У кожного з розглянутих карикатуристів був свій неперевершений стиль. Когось більше захоплював зміст, а когось – форма, у когось з митців в карикатурах більше проявлялася гротескність, а у когось – авангард. Головне, що ці графічні твори представляють історичну, художню та культурну цінність. Значна кількість художників, що починали як молоді ілюстратори одеської сатиричної преси, стали видатними художниками. Встановлено, що їх об’єднують декілька принципових моментів, які вплинули на подальшу творчість митців. Більшість з одеських художників-карикатуристів, що розглядаються в статті, були етнічними євреями. Значна кількість з них приблизно в 20-х роках XX століття емігрували до Парижу через репресії за часів більшовицької влади. Часто це трагічно позначалося на життях художників. Багато представників сатиричного жанру обирали замість важкої еміграції шлях до Петрограду. Це відкривало більше можливостей для навчання, спілкування та самореалізації при новій владі. Але для цих художників стане складно максимально самовиражатись в тоталітарній системі. Це підкреслює значення вільної преси для творчої реалізації ілюстратора.
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