Suchergebnisse

The article presents the specifics in the development of modern Chinese female prose, presents views on the concept of "narcissism" and a person's perception of himself in the mirror, describes the cultural meaning of the image of mirrors, considers the narration of the episode "appreciating one's own beauty in front of the mirror" in the works of Lin Bai. The author interprets the role of the image of a mirror in female prose from a feminist point of view, gives a generalized description of the works of Lin Bai – to build a dialogue between women and the world

The article considers the reasons for foreign tours of the Moscow State Symphony Orchestra's headed by V.B. Dudarova in the 1970s, the specifics of those tours, as well as their results both from the point of view of popularizing symphonic music and from the point of view of popularizing Soviet ideology abroad. Among the most important reasons for the organization of the first foreign tours by the Moscow State Symphony Orchestra of V.B. Dudarova in the 1970s, one can mention the active participation of the orchestra in numerous Soviet festivals, competitions for young performers, the preparation and performance of new works by Soviet composers, the expansion of the repertoire of performed musical works, the work with foreign conductors, Also the participation of V.B. Dudarova as a guest conductor in foreign tours with other orchestras, the musical community positive reviews and reports on the work of the orchestra as well as increasing the status and prestige of the orchestra in the general range of symphony orchestras of the USSR. The organization and conduct of foreign tours in the Polish People's Republic and the GDR included the briefing, the development of a concert program, which provided for concerts in several major cities with a developed musical culture, as well as in the capitals of the countries selected for the foreign tour. In addition to the concerts themselves, the organization of the tour included a meeting of the Orchestra's direction with the cultural intelligentsia of the People's Republic of Poland and the GDR after each of the concerts, advertising concerts and the orchestra's work in the media of the People's Republic of Poland and the GDR, selling souvenirs and recordings of the orchestra. Thus, the concerts of the Moscow State Symphony Orchestra conducted by V.B. Dudarova were only a part, or rather one of the instruments, of the national program of Soviet propaganda and the maintenance of a favorable image of the USSR abroad.

The article is about the description and analysis of corporeal categories arising in the work of the Soviet uncensored prose writer Pavel Ulitin. Although the role of one of the most "musical" writers of samizdat was fixed for the writer, his texts, despite the author's distinct interest in the melody of speech, bring to life the complex of issues that in modern humanities is associated with the body. Constant attention to the design, interaction with various ways of representing the text (from calligraphy to typewriting) reveal the corporeal foundation of writing as such. Meaningfully, the works of Ulitin, often completely eliminating the usual depiction, also turn to the body. The methods of non-classical representation of the body are of interest to us first of all, however, in addition to immanent analysis, we will attempt to consider the identified strategies in synchrony: in the context of practices, contemporary to Ulitin not least related to the appearance of the Noveau Roman, the poetics of which is considered in relation to the processes taking place in the philosophical culture of Europe of the second half of the twentieth century.. The book "How does he hold a paddle?" as the most striking example of the author's poetics was used as a research material.

The research of terms denoting emotions is the main approach for the study of notions about human feelings that existed in the past. Because of the peculiarities of the ancient Russian book culture, we cannot find thorough and detailed descriptions related to the experiences of people in the works of that period. However, those texts contain emotive vocabulary. Exactly its analysis is especially important for understanding the ideas about the emotions of the Middle Ages. The analysis of the emotive language of fear shows, however, that the authors of the Tale of Bygone Years not only and not so much sought to express the feeling of their characters' fear, but created the characteristics of the characters of the chronicle with the help of emotives. The article analyses the stories of the Tale of Bygone Years about the princes that contain lexemes of fear. Particular attention is paid to the usage contexts of the discovered emotives. The key result of the analysis presented that chroniclers used the emotive language of fear for the moral characterization of princes. The mention of this emotion marks the characters as villains and defines their actions as unrighteous. Fearlessness is as a positive characteristic of princes. Therefore, the emotive language of fear in the chronicle narrative primarily plays a symbolic role and becomes an important element of the evaluation that chroniclers give to their characters.