3,787 research outputs found
Personal Identity as a Hypothesis
I propose that the notions of personhood and personal identity are most accurately understood as merely negative hypotheses in the brains of us humans. Understanding the notions of personhood and personal identity in this way will also explain why the disagreements about the nature of personhood and personal identity have been intractable so far in the philosophical literature. And it also predicts that settling these disagreements through the analytic dialectic is unlikely
Fantasia on a Theme of Purpose: Using a Music-Guided Scribble Technique to Support Meaning-Making in Older Adult Retiree Musicians
Within the population of older adults, overall well-being corresponds with the ability to self-actualize and seek meaning, but age-related changes combined with ageism and isolation can negatively impact this capacity to maintain a sense of purpose, especially following retirement. It may be that retired musicians are especially vulnerable to this experience later in life due to a loss of the primary method of creative engagement and community that is facilitated by musical performance in a group setting. Integrating phenomenological and ethnographic approaches, this study utilized a qualitative design to understand how music-guided art-making incorporating the scribble technique could support a sense of purpose among older adult retiree musicians. In an art-based intervention that collected art and interview data, participants responded to self-selected music with a variety of fluid and resistive drawing materials categorized as Media Dimension Variables (MDV). Data analysis was executed in conjunction with theories of Acceptance and Commitment Therapy (ACT) and the Expressive Therapies Continuum (ETC). Results obtained via thematic analysis suggested that the intervention facilitated access to creative intentionality in support of a sense of purpose. The process of self-selecting music that was rich with personal significance provided an optimal frame of reference in a novel art experiential that engaged individual strengths, values, and expertise. Responding to music in real-time with a kinesthetically-focused drawing technique presented a non-threatening approach to visual composition; the spontaneity in this process also offered opportunities for self-discovery and contact with the present moment
Efficient Visual Computing with Camera RAW Snapshots
Conventional cameras capture image irradiance (RAW) on a sensor and convert it to RGB images using an image signal
processor (ISP). The images can then be used for photography or visual computing tasks in a variety of applications, such as public
safety surveillance and autonomous driving. One can argue that since RAW images contain all the captured information, the conversion
of RAW to RGB using an ISP is not necessary for visual computing. In this paper, we propose a novel Ο-Vision framework to perform
high-level semantic understanding and low-level compression using RAW images without the ISP subsystem used for decades.
Considering the scarcity of available RAW image datasets, we first develop an unpaired CycleR2R network based on unsupervised
CycleGAN to train modular unrolled ISP and inverse ISP (invISP) models using unpaired RAW and RGB images. We can then flexibly
generate simulated RAW images (simRAW) using any existing RGB image dataset and finetune different models originally trained in
the RGB domain to process real-world camera RAW images. We demonstrate object detection and image compression capabilities in
RAW-domain using RAW-domain YOLOv3 and RAW image compressor (RIC) on camera snapshots. Quantitative results reveal that
RAW-domain task inference provides better detection accuracy and compression efficiency compared to that in the RGB domain.
Furthermore, the proposed Ο-Vision generalizes across various camera sensors and different task-specific models. An added benefit of
employing the Ο-Vision is the elimination of the need for ISP, leading to potential reductions in computations and processing times
Accessibility at Film Festivals: Guidelines for Inclusive Subtitling
In today's media-dominated world, the imperative for accessibility has never been greater, and ensuring that audiovisual experiences cater to individuals with sensory disabilities has become a pressing concern. One of the key initiatives in this endeavour is inclusive subtitling (IS), a practice rooted in the broader contexts of subtitling for the deaf and hard of hearing (SDH/CC), audiovisual translation studies (AVTS), media accessibility studies (MAS), and the evolving field of Deaf studies (DS). This study aims to offer a comprehensive exploration of how inclusive subtitling contributes to fostering accessible and inclusive audiovisual experiences, with a particular focus on its implications within the unique environment of film festivals. To gain a holistic perspective of inclusive subtitling, it is essential to examine its lineage in relation to analogous practices, which is the focus of the first chapter. Inclusive subtitling is an extension of SDH/CC, designed for individuals with hearing impairments, and SDH/CC, in turn, is a nuanced variation of traditional subtitling extensively explored within the realm of AVTS. To encapsulate the diverse techniques and modalities aimed at making audiovisual content universally accessible, the study recognises the term "Audiovisual Accessibility" (AVA). The second chapter explores the interconnection of accessibility studies (AS), AVTS, and MAS, highlighting their symbiotic relationship and their role in framing inclusive subtitles within these fields. These interconnections are pivotal in shaping a framework for the practice of inclusive subtitling, enabling a comprehensive examination of its applicability and research implications. The third chapter delves into Deaf studies and the evolution of Deafhood, which hinges on the history and culture of Deaf individuals. This chapter elucidates the distinction between βdeafnessβ as a medical construct and βDeafhoodβ as a cultural identity, crucial to the understanding of audiovisual accessibility and its intersection with the Deaf community's perspectives. In the fourth chapter, the focus turns to the exploration of film festivals, with a specific emphasis on the crucial role of subtitles in enhancing accessibility, particularly when films are presented in their original languages. The chapter marks a critical point, highlighting the inherent connection between subtitles and the immersive nature of film festivals that aspire to promote inclusivity in the cinematic experience. The emphasis on inclusivity extends to the evolution of film festivals, giving rise to more advanced forms, including accessible film festivals and Deaf film festivals. At the core of the chapter is a thorough examination of the corpus, specifically, the SDH/CC of films spanning the editions from 2020 to 2023 of two highly significant film festivals, namely BFI Flare and the London Film Festival. The corpus serves as the foundation upon which my research unfolds, providing a nuanced understanding of the role subtitles play in film festival contexts. The main chapter, chapter five, thoroughly analyses the technical and linguistic aspects of inclusive subtitling, drawing insights from the Inclusive Subtitling Guidelines - a two version document devised by myself - and offering real-world applications supported by a case study at an Italian film festival and another case study of the short film Pure, with the relevant inclusive subtitles file annexed. In conclusion, the research sets the stage for a comprehensive exploration of inclusive subtitling's role in ensuring accessible and inclusive audiovisual experiences, particularly within film festivals. It underscores the importance of accessibility in the world of audiovisual media and highlights the need for inclusive practices to cater to diverse audiences
βAgainste the Invasion and Incourse of Scottes in tyme of warreβ: An examination of motivations behind fortified building in Northumberland, 1296-1415
Scholarship in recent decades has characterized fortification, beginning in the fourteenth century, as declining in defensibility and erected largely for comfort and status. Most literature on the subject, however, leaves out the border counties of England or dismisses them as not fitting into their narrative, without further investigation. In Northumberland, as with the other border counties, the Anglo-Scottish Wars of Independence and subsequent period of border conflict created a culture of fortification in the north which was largely different from that in the rest of the country both in scale and style.
Frequent Scottish raiding into Northumberland created a reactive pattern of building, with fortification cropping up along invasion routes shortly after incursions took place. By analysing the patterns of raiding during the fourteenth century, this thesis argues for a concrete link between the Anglo-Scottish border conflict and the high level of fortification within Northumberland. While other typical uses for these sites, including the judicial and administrative, do apply, none of these can explain the high number of fortifications built in Northumberland between 1296 and 1415 relative to other counties in England. Nor can Northumberlandβs density of castles be attributed to the countyβs reputation for supposed lawlessness: there is little evidence that crime rates in the fourteenth century were any higher in the county, nor was the judicial system any weaker there, than anywhere else in the country for the period.
Of the sites themselves, the vast majority were free-standing tower houses, a new form of fortification within England, and one that only became prevalent in the English borders from the early fourteenth century. These towers offered a more affordable alternative for lesser members of the gentry to protect their lands against the threat of raiding, and they proved successful enough that they were used prevalently in Ireland in the fifteenth century, and similar towers were erected widely in Scotland in the sixteenth century. Both in-person investigations of the sites, and archaeological research showed that these tower houses were typically built with at least two external defences, thick walls, narrow windows, and seldom with windows on the ground floor, generally placing the need for defence above a comfortable interior space in their construction.
Both the historical and archaeological examination of these sites reveal strong links between their construction and border conflict. Significantly, nearly no obvious defensive weaknesses are present in any of the sites surveyed, portraying the image of a county still very much in need of practical fortification, and not one whose defensibility is in decline
Subjective Excess: Aesthetics, Character, and Non-Normative Perspectives in Serial Television After 2000
This dissertation aims to fill gaps in contemporary television scholarship with regards to aesthetics and character subjectivity. By analyzing eight series that have all aired after 2000, there is a marked trend in series that use an excessive visual and aural style to not only differentiate themselves from other programming, but also to explore non-normative perspectives. Now more willing to explore previously taboo topics such as mental health, addiction, illness, and trauma, the shows featured in this dissertation show how a seemingly excessive televisual aesthetic works with televisionβs seriality to create narrative complexity and generate character development. Chapters are arranged by mode of production with the first chapter focusing on the series Greyβs Anatomy and Hannibal as a means of exploring the production and distribution practices surrounding network TV. The second chapter examines the basic cable series Crazy Ex-Girlfriend and Legion and posits how the narrowcasting of cable allows for more nuanced character representations through aesthetics. In the third chapter, the impact HBO has had on the television medium is explored through CarnivΓ le and Euphoria. The final chapter looks at contemporary series The Boys and Unbreakable Kimmy Schmidt as a way to better understand how the mediumβs production and distribution has shifted during the convergence era. Ultimately, this dissertation will argue that in addition to further explorations of aesthetics, television studies is in need of a medium specific vernacular for creating meaningful textual analyses that avoid an overreliance on cinematic terminology
ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° / Musicology (34 I/2023)
ΠΠ±Π΅Π»Π΅ΠΆΠ°Π²Π°ΡΠ΅ ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° ΡΠ΅ ΠΏΡΠ΅ΠΌΠΈΠ½ΡΠΎ ΠΠ³ΠΎΡ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ (1882β1971) ΠΏΡΠΎΡΠ΅ΠΊΠ»ΠΎ ΡΠ΅ Ρ ΡΠ΅Π½ΡΠΈ ΠΏΠ°Π½Π΄Π΅ΠΌΠΈΡΠ΅ ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° ΡΠ΅ Π½Π°ΡΡΠ½ΠΎ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ΅ ΠΏΠΎΠ΄ΡΡΠ°ΠΊΠ½ΡΡΠΎ ΡΠΎΠΌ Π³ΠΎΠ΄ΠΈΡΡΠΈΡΠΎΠΌ ΠΏΡΠΎΠ΄ΡΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ ΡΠ΅ ΡΠ΅ΠΌΡ ΠΏΡΠΈΠ΄ΡΡΠΆΡΡΠ΅ ΠΈ ΠΠ»Π°Π²Π½Π° ΡΠ΅ΠΌΠ° Ρ Π½ΠΎΠ²ΠΎΠΌ Π±ΡΠΎΡΡ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ (34), Ρ Π½ΠΈΠ·ΠΎΠΌ ΡΡΡΠ΄ΠΈΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ΠΈΡ
Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠΌ, ΠΊΠΎΡΠ΅ ΠΏΠΎΡΠΈΡΡ ΠΈΠ· ΠΈΠ·Π»Π°Π³Π°ΡΠ° Π½Π° Π‘ΡΡΠ΄ΠΈΡΡΠΊΠΎΠΌ Π΄Π°Π½Ρ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠΠ΄ΡΠ΅ΠΊΡ Π·Π° ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΠ°ΡΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³ ΠΈ ΠΠ°ΠΏΠΎΠ΄ΠΈΡΡΡΠΈΡΠ°ΡΠΎΠ²ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΡΠΈΠ½ΠΈ. ΠΠ°ΡΡΡΠΏΡΠ΅Π½Π΅ ΡΠ΅ΠΌΠ΅ ΠΏΠΎΠΊΡΠΈΠ²Π°ΡΡ ΡΠΈΡΠΎΠΊ ΡΠΏΠ΅ΠΊΡΠ°Ρ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ°ΡΠΈΠΊΠ΅ Ρ Π²Π΅Π·ΠΈ ΡΠ° ΡΠ²ΠΈΠΌ ΡΡΠΈΠΌΠ° ΡΠ°Π·Π°ΠΌΠ° ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ (ΡΡΡΠΊΠ°, Π½Π΅ΠΎΠΊΠ»Π°ΡΠΈΡΠ½Π° ΠΈ ΡΠ΅ΡΠΈΡΠ°Π»Π½Π°), ΡΠΊΡΡΡΡΡΡΡΠΈ ΠΏΡΠΈ ΡΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡΠ°ΡΠ° Π΅ΡΡΠ΅ΡΠΈΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΡΡΠΈΡΠ°ΡΠ° ΠΈ ΡΠ΅ΡΠ΅ΠΏΡΠΈΡΠ΅ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ Π΄Π΅Π»Π°.
Π‘ΡΠ°ΠΌΠ°ΡΠΈΡ ΠΠΎΡ
ΠΈΠΎΡ ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡΠ²Π°ΡΠ° ΠΏΠΈΡΠ°ΡΠ΅ Π²Π΅Π·Π΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ Ρ ΡΡΡΠΊΠΈΠΌ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠΎΠΌ, ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡΠ°Π»ΠΈΠ·ΡΡΡΡΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΈΠ· ΡΠ°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ βΡΡΡΠΊΠΎΠ³β ΠΏΠ΅ΡΠΈΠΎΠ΄Π° Ρ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ°ΠΌΠ° Π½Π° ΠΈΡΡΠΎΡΠΈΡΠ°Ρ ΡΡΡΠΊΠ΅ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠΈΡΡΠΈΠΊΠ΅. ΠΠΎΡ
ΠΈΠΎΡ Π·Π°ΠΊΡΡΡΡΡΠ΅ Π΄Π° ΡΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΏΡΠ°ΡΠΈΠΎ ΠΏΡΡ ΡΠ²ΠΎΡΠΈΡ
ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (ΠΠ»ΠΈΠ½ΠΊΠ° ΠΈ ΠΠ΅ΡΠΎΡΠΈΡΠ°) Ρ ΡΠΏΠΎΡΡΠ΅Π±ΠΈ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠ½ΠΈΡ
ΠΈΠ·Π²ΠΎΡΠ° Π·Π° ΡΠ²ΠΎΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡΠ΅, Π°Π»ΠΈ, Π·Π° ΡΠ°Π·Π»ΠΈΠΊΡ ΠΎΠ΄ ΡΠΈΡ
, Π½ΠΈΡΠ΅ ΠΊΠΎΡΠΈΡΡΠΈΠΎ ΡΡΡΠ΄ΠΈΡΠ΅ Π½Π°ΡΡΠ°ΡΠ°Π»Π΅ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ Π²ΡΠ΅ΠΌΠ΅Π½Ρ; ΡΡΠΎΠ³Π°, Π½ΠΈΡΠ΅ ΡΠ΅ ΡΠΏΡΡΡΠΈΠΎ Ρ Π΅ΠΊΡΡΠ΅Π½Π·ΠΈΠ²Π½Ρ ΠΈ Π΄ΡΠ±ΠΈΠ½ΡΠΊΡ ΠΏΡΠ΅ΡΡΠ°Π³Ρ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠΈΡ
ΠΈΠ·Π²ΠΎΡΠ° ΠΎ ΡΡΡΠΊΠΎΠΌ ΡΠΎΠ»ΠΊΠ»ΠΎΡΡ, Π²Π΅Ρ ΡΠ΅ ΡΠΌΠ΅ΡΡΠΎ ΡΠΎΠ³Π° ΠΎΡΠ»Π°ΡΠ°ΠΎ Π½Π° ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π΅ ΠΈΠ·Π²ΠΎΡΠ΅ ΠΈ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ ΠΠ²Π°Π½Π° ΠΡΠ΄ΠΈΡΠ° ΠΎΡΠ²Π΅ΡΡΠ°Π²Π° Π΄Π΅ΠΎ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ Ρ ΡΠΎΠΊΡΡΠΎΠΌ Π½Π° ΡΠ΅Π³ΠΎΠ²Π° Π΄ΡΡ
ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ·Π½Π°Π²Π°ΡΠ° ΡΠΈΠ»ΠΎΠ·ΠΎΡΠΈΡΠ΅ ΠΠ°ΠΊΠ° ΠΠ°ΡΠΈΡΠ΅Π½Π°, Π° Ρ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ ΡΠΈΠ»ΠΎΠ·ΠΎΡΡΠΊΠΈΡ
ΠΏΠΎΡΡΠ΅ΡΠ° Ρ ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΎΡ Π€ΡΠ°Π½ΡΡΡΠΊΠΎΡ. ΠΡΠ΄ΠΈ ΠΎΠ±ΡΠ°ΡΠ° ΠΏΠΎΡΠ΅Π±Π½Ρ ΠΏΠ°ΠΆΡΡ Π½Π° ΡΠΎ ΠΊΠ°ΠΊΠΎ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΠ° ΠΠ°ΡΠΈΡΠ΅Π½ΠΎΠ²Ρ ΠΈΠ΄Π΅ΡΡ homo faber-a, βΡΠΎΠ²Π΅ΠΊΠ°-ΡΠ²ΠΎΡΡΠ°β. ΠΡΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°ΡΡΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΎΠ²ΠΎ ΡΡΡΠΊΠΎ ΠΏΠΎΡΠ΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡΡΡΡΡΡΡΠΈ Π΄Π° ΡΡ Π΄Π΅Π»Π° ΠΊΠΎΡΠ° ΡΡ ΠΎΠ²Π΄Π΅ ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°Π½Π° ΡΠ΅Π΄Π½Π°ΠΊΠΎ ΡΡΠ΅ΠΌΠ΅ΡΠ΅Π½Π° Ρ ΡΡΡΠΊΠΎΠΌ ΠΏΠΎΡΠ΅ΠΊΠ»Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΊΠ°ΠΎ ΠΈ Ρ ΡΠ΅Π³ΠΎΠ²ΠΈΠΌ ΠΈΡΠΊΡΡΡΠ²ΠΈΠΌΠ° Π½Π° ΠΠ°ΠΏΠ°Π΄Ρ. ΠΠ°ΡΠ΅ΡΠΈΠ½Π° ΠΠ΅Π²ΠΈΠ΄Ρ Π΄Π°ΡΠ΅ Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠΠΎΠ΅ΡΠΈΠΊΡ ΠΌΡΠ·ΠΈΠΊΠ΅, Π° Π½Π°ΡΠΎΡΠΈΡΠΎ Π½Π° ΠΏΠΈΡΠ°ΡΠ΅ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡΠ° ΠΡΠ΅ΡΠ° Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΎΠ³ ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡΡ
Π²Π°ΡΡ. ΠΠ΅Π½ΠΎ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΠΊΡΠ΅ΡΠ΅ ΡΠ΅ ΠΈΠ·Π²Π°Π½ ΠΎΡΠ΅ΠΊΠΈΠ²Π°Π½ΠΈΡ
ΠΌΠ΅ΡΡΠ° Π·Π° ΠΏΠΎΡΠΌΠ°ΡΡΠ°ΡΠ΅, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΈΠ·Π²Π°Π½ ΠΏΠ΅ΡΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²ΡΠ° (ΠΊΠΎΡΠ΅ ΡΠ΅ Π½Π°ΠΏΠΈΡΠ°ΠΎ Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΈ) ΠΈ Π΄ΠΎΠ±ΡΠΎ ΠΏΠΎΠ·Π½Π°ΡΠ΅ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ΅ ΠΊΠ° ΠΈΠ΄Π΅ΡΠ°ΠΌΠ° Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΎΠ³ ΠΎ ΠΌΡΠ·ΠΈΡΠΈ ΠΈ Π²ΡΠ΅ΠΌΠ΅Π½Ρ. ΠΠ° ΡΠ°Ρ Π½Π°ΡΠΈΠ½ ΡΠ΅ ΠΠΎΠ΅ΡΠΈΠΊΠ° ΠΈΠ½ΡΡΠΈΠ³Π°Π½ΡΠ½ΠΎ ΠΏΠΎΡΡΠ°ΡΠΈ Π½Π°ΡΠΌΠ°ΡΠ΅ ΠΎΡΠ΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°ΡΡΠΎΡΠΌΠ° Π·Π° ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡΡ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°ΡΠΈΡΡ ΠΏΠΎΠ·ΠΈΡΠΈΡΠ° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ
Ρ ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈΠΌ Π½ΠΈΡΠΈΠΌΠ° βΠ΅Π²ΡΠΎΠ°Π·ΠΈΡΡΡΠ²Π°β, ΡΡΡΠΊΠΎΠ³ Π΅ΠΌΠΈΠ³ΡΠ°Π½ΡΡΠΊΠΎΠ³ ΠΈΠ½ΡΠ΅Π»Π΅ΠΊΡΡΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΎΠ³ ΠΏΠΎΠΊΡΠ΅ΡΠ°, Ρ ΠΊΠΎΡΠΈΠΌ ΡΠ΅ Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΈ Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠΡΠΈΡΡΠΎΡ Π€Π»Π°ΠΌ ΡΠΎΠΊΡΡΠΈΡΠ°ΠΎ ΡΠ΅ Π½Π° ΠΊΠ°ΡΠ½ΠΎ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²ΠΎ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΈ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΠΎ Π³Π° ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½ΠΎΡΡΠΈ. ΠΠΎΠ½ΠΊΡΠ΅ΡΠ½ΠΎ, ΠΎΠ²Π°Ρ Π°ΡΡΠΎΡ ΡΠ΅ ΠΈΡΡΠ°ΠΊΠ°ΠΎ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½Π΅, ΡΠ΅ΠΌΠ°Π½ΡΠΈΡΠΊΠ΅ ΠΈ ΡΠ°ΠΌΠΎΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠ°Π»Π½Π΅ Π΄ΠΈΠΌΠ΅Π½Π·ΠΈΡΠ΅ Ρ ΠΊΠ°ΡΠ½ΠΈΠΌ Π΄Π΅Π»ΠΈΠΌΠ°, ΠΊΠΎΡΠ΅ ΡΠ΅ Ρ ΡΠΈΠΌΠ° ΠΏΠΎΡΠ°Π²ΡΡΡΡ Ρ Π½Π°ΡΠΎΡΠΈΡΠΎΠΌ ΡΠ°ΡΠ½ΠΎΡΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡΠ½ΠΎ ΠΏΡΠΎΡΠΈΠ²ΡΠ΅ΡΠ΅ ΡΠΎΠ±ΠΈΡΠ°ΡΠ΅Π½ΠΈΠΌ ΠΎΡΠ΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ Π°ΠΏΡΡΡΠ°ΠΊΡΠ½Π΅ ΠΈ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠ²ΠΈΡΡΠΈΡΠΊΠ΅, Π° ΡΠ°ΠΊΠΎΡΠ΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°ΡΡ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΎΠ²Π΅ Π»ΠΈΡΠ½Π΅ ΠΈΠ·ΡΠ°Π²Π΅. Π‘ ΡΠ»Π°Π½ΠΊΠΎΠΌ ΠΠ΄Π²Π°ΡΠ΄Π° ΠΠ΅ΠΌΠ±Π΅Π»Π° ΠΎΡΡΠ°ΡΠ΅ΠΌΠΎ Ρ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½ΠΎΠΌ Π΄ΠΎΠ±Ρ, Π°Π»ΠΈ ΡΠ΅ ΡΠΎΠΊΡΡ ΠΏΠΎΠΌΠ΅ΡΠ° Ρ Π΄Π΅Π»Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΏΠΎ ΡΠ΅Π±ΠΈ Π½Π° ΡΡΠΈΡΠ°Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΡΠ°Π΄Π° Π½Π° ΡΡΠ°Π½ΠΊΠΎΡΠΎΠ½Ρ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½Ρ Π°Π²Π°Π½Π³Π°ΡΠ΄Ρ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ Π½Π° ΠΡΠ΅ΡΠ° ΠΡΠ»Π΅Π·Π°, ΠΠ°Π½Π° ΠΠ°ΡΠ°ΠΊΠ°, ΠΠ½ΡΠΈΡΠ° ΠΡΡΠ΅ΡΠ° ΠΈ ΠΠΈΡΠ΅Π»Π° Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. ΠΠ΅ΠΌΠ±Π΅Π»ΠΎΠ²Π° Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°ΡΠΈ Π½Π° ΠΏΠΎΠ²ΡΡΠΈΠ½Ρ ΡΡΠΈΡΠ°Ρ ΠΊΠΎΡΠΈ ΡΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° ΡΠΈΡΠΌΠΈΡΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°ΡΠΈΡΠ΅, ΡΠΏΠΎΡΡΠ΅Π±Π΅ Π·Π²ΡΡΠ½ΠΎΡΡΠΈ, Ρ
Π°ΡΠΌΠΎΠ½ΠΈΡΠ°, ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠ°Π»Π½Π΅ Π±ΠΎΡΠ΅, ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΠΎΡΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°ΡΠΈΡΠ΅ΡΠ° Π²ΠΈΡΠΈΠ½Π΅ ΡΠΎΠ½Π°.
ΠΠΎΡΠ»Π΅Π΄ΡΠ° Π΄Π²Π° ΡΠ»Π°Π½ΠΊΠ° ΠΏΡΠΈΠ»Π°Π·Π΅ ΡΠ°Π΄Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ Π΅ΡΡΠ΅ΡΠΈΠΊΠ΅, Ρ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ°ΠΌΠ° ΠΊΠ° ΡΠΈΠ»ΠΎΠ·ΠΎΡΠΈΡΠΈ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½ΠΈΠΊΠ°, Π₯Π΅Π»ΠΌΡΡΠ° ΠΠ»Π΅ΡΠ½Π΅ΡΠ°. ΠΠ°ΠΊΠΎΠ²ΠΎΡ Π¨ΡΠ°ΡΠ½Ρ
Π°ΡΠ΅Ρ ΡΠ°ΡΠΏΡΠ°Π²ΡΠ° ΠΎ Π·Π½Π°ΡΠ΅ΡΡ ΡΠ΅Π»Π΅ΡΠ½ΠΎΡΡΠΈ ΠΈ ΠΏΠ»Π΅ΡΠ° Ρ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΠΎΠ΄Π»Π°Π·Π΅ΡΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ²Π°ΡΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° Π·Π° Π±Π°Π»Π΅ΡΡΠΊΡ ΠΌΡΠ·ΠΈΠΊΡ. ΠΠ°Π»Π΅ΡΡΠΊΠ° ΠΌΡΠ·ΠΈΠΊΠ° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΠΊΠ°ΠΊΠΎ Π¨ΡΠ°ΡΠ½Ρ
Π°ΡΠ΅Ρ ΠΏΠΎΠΊΠ°Π·ΡΡΠ΅, ΠΏΠΎΡΡΠΈΠΆΠ΅ ΡΡΠ°ΡΠ΅ βΠΏΠΎΡΡΠ΅Π΄ΠΎΠ²Π°Π½Π΅ Π½Π΅ΠΏΠΎΡΡΠ΅Π΄Π½ΠΎΡΡΠΈβ, ΠΎΠ΄ΡΠΆΠ°Π²Π°ΡΡΡΠΈ ΡΠ°ΠΊΠΎ Π΄ΠΈΡΡΠ°Π½ΡΡ Ρ ΠΎΠ΄Π½ΠΎΡΡ Π½Π° ΡΡΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½ΠΈ ΠΈΠ·ΡΠ°Π·, Π±Π΅Π· ΠΊΠΎΡΠ΅Π³, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡΠ°ΡΠ΅ Π°ΠΏΡΡΡΠ°ΠΊΡΠ½Π°. ΠΠΎΠ½Π°ΡΠ½ΠΎ, ΠΠ°ΡΠΊΠΎΡ Π¦Π΅ΡΠΎΡ Π½ΡΠ΄ΠΈ Π½ΠΎΠ²Ρ ΠΊΡΠΈΡΠΈΠΊΡ ΠΠ΄ΠΎΡΠ½ΠΎΠ²Π΅ ΠΊΡΠΈΡΠΈΠΊΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΡΠ΅ΡΠ΅ΡΠΈΡΠ°ΡΡΡΠΈ Π½Π° ΠΠ»Π΅ΡΠ½Π΅ΡΠΎΠ²Ρ ΡΠΈΠ»ΠΎΠ·ΠΎΡΡΠΊΡ Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡΡ. ΠΠ½, ΡΡΠΎΠ³Π°, ΠΈΠ·Π°Π·ΠΈΠ²Π° ΠΠ΄ΠΎΡΠ½ΠΎΠ²Π΅ ΠΏΠΎΠ³Π»Π΅Π΄Π΅ ΠΊΠΎΡΠΈ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΡΠ²ΡΡΡΠ°Π²Π°ΡΡ Ρ Π½Π΅Ρ
ΡΠΌΠ°Π½Π΅ ΠΈ ΠΏΡΠΈΠΌΠΈΡΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡΡΡΡΠΈ ΡΠΌΠ΅ΡΡΠΎ ΡΠΎΠ³Π° Π΄Π° ΡΠ΅Π³ΠΎΠ²Π° ΠΌΡΠ·ΠΈΠΊΠ° Π΄ΠΎΡΡΠΈΠΆΠ΅, Ρ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°ΡΠ½ΠΈΠΌ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠΌ ΡΠ΅ΡΠΌΠΈΠ½ΠΈΠΌΠ°, ΠΊΠΎΠ½ΡΡΠΈΡΡΡΠΈΠ²Π½Ρ ΡΠ΅ΡΠ»Π΅ΠΊΡΠΈΠ²Π½ΠΎΡΡ ΡΡΠ΄ΡΠΊΠΎΠ³ ΠΎΡΠ΅Π»ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΎΠ³ ΡΡΠ°ΡΠ°.
Π ΡΠ±ΡΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ ΡΠ΅ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡΡΠΎ ΡΠ°ΠΆΠ΅ΡΠΈΡΠ° β Π΄ΠΎΠ½ΠΎΡΠΈ ΡΡΠΈ ΡΡΡΠ΄ΠΈΡΠ΅, Π°Π»ΠΈ ΡΡ ΡΠΈΠΌΠ° ΠΌΠ°ΡΠΊΠΈΡΠ°Π½Π° ΡΠ°Π·Π»ΠΈΡΠΈΡΠ° ΠΏΠΎΡΠ° ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°. ΠΠΎΡΠ°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ ΡΡΡΠ΄ΠΈΠΎΠ·Π½ΠΎ ΡΠ΅ Π±Π°Π²ΠΈΠ»Π° ΠΏΡΠΎΡΡΠ°Π²Π°ΡΠ΅ΠΌ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½ΠΈΡ
ΡΡΠ΅Π΄ΡΡΠ°Π²Π° Ρ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° Π³Π»Π°Ρ ΡΡΠΏΡΠΊΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΡΠ³Π° ΠΠ°ΡΠΊΠΎΠ²ΠΈΡΠ°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡΠ°ΡΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° ΠΎΠ΄Π½ΠΎΡΠ° ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ°ΡΠ°. Π¦ΠΈΡ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡΡ
Π²Π°ΡΠ° Π±ΠΈΠΎ ΡΠ΅ Π΄Π° ΠΏΡΡΠ΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±ΡΠ°Π½ΠΈΡ
ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡΠ° Π΄ΠΎΠΏΡΠΈΠ½Π΅ΡΠ΅ ΠΎΡΠ²Π΅ΡΡΠ°Π²Π°ΡΡ ΠΠ°ΡΠΊΠΎΠ²ΠΈΡΠ΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡΠΈΡΠ½ΠΎΠ³ ΡΡΠΈΠ»Π°, ΠΊΠ°ΠΎ ΠΈ Π΄Π° ΡΠ΅ ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½ΠΈΡΠ° Ρ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½Π΅ ΠΊΡΡΠ³ΠΎΠ²Π΅ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Π³Π»Π°ΡΠΎΠΌ Π±Π°Π²Π΅ Π½Π° Π½Π΅ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°ΡΠΈΠ½Π΅. ΠΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΠΠ°ΡΠΈΡΠ΅ ΠΠΈΠ½ΠΎΠ² ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ΅Π½ΠΎ ΠΎΠ²ΠΎΠΌ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΎΠ΄Π½ΠΎΡΠΈ ΡΠ΅ Π½Π° ΠΊΠΈΠ½Π΅ΡΡΠ΅ΡΠΈΡΠΊΠ΅ Π³Π΅ΡΡΠΎΠ²Π΅, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΡΠ΅Π»Π΅ΡΠ½Π΅ ΠΏΠΎΠΊΡΠ΅ΡΠ΅ ΠΈΠ·Π²ΠΎΡΠ°ΡΠ° ΡΠΎΠΊΠΎΠΌ ΠΏΠ΅ΡΡΠΎΡΠΌΠ°Π½ΡΠ°, Π° ΡΠΊΡΡΡΡΡΡΡΠΈ ΡΠΎΠΏΡΡΠ²Π΅Π½Π° ΠΏΠΈΡΠ°Π½ΠΈΡΡΠΈΡΠΊΠ° ΠΈΡΠΊΡΡΡΠ²Π°, ΠΏΠΎΡΠ΅Π±Π½Ρ ΡΠ΅ ΠΏΠ°ΠΆΡΡ ΠΏΠΎΡΠ²Π΅ΡΠΈΠ»Π° ΠΠ΅ΡΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ ΠΊΠ»Π°Π²ΠΈΡΡΠΊΠΈΠΌ ΡΠΎΠ½Π°ΡΠ°ΠΌΠ°. ΠΠ±ΡΠ°ΡΡΠ΅ΡΠ΅ ΡΡΠΈΡΠ°ΡΠ° ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠ° ΡΠΈΠ·ΠΈΡΠΊΠΈΡ
ΠΏΠΎΠΊΡΠ΅ΡΠ° ΡΠ΅Π»Π° Π½Π° ΠΌΡΠ·ΠΈΡΠΊΠΎ Π΄Π΅Π»ΠΎ ΡΠΊΡΡΡΠΈΠ»ΠΎ ΡΠ΅ ΠΎΡΠ²ΡΡ Π½Π° ΡΡΠ²Π°ΡΠ°ΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° Ρ Π΄ΡΡΠ³Π΅ ΡΡΡΠ°Π½Π΅ ΠΈ Π½Π° ΡΠ΅Π½Π·Π°ΡΠΈΡΠ΅ ΡΠΎΠΊΠΎΠΌ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ°, ΡΡΠΎ ΡΠ΅ ΡΡΠ³Π΅ΡΠΈΡΠ°Π»ΠΎ ΡΠΈΡΠΈ Π·Π°ΠΊΡΡΡΠ°ΠΊ ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎΡ Π²Π°ΠΆΠ½ΠΎΡΡΠΈ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΠ° βΠΊΠΈΠ½Π΅ΡΠΈΡΠΊΠ΅ Π΅Π½Π΅ΡΠ³ΠΈΡΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅β. ΠΠΎΡΠ»Π΅Π΄ΡΠΈ Ρ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρ ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΡΠ΅ ΡΠ»Π°Π½Π°ΠΊ ΠΠΈΠ½Π΅ ΠΠΎΡΠ²ΠΎΠ΄ΠΈΡ ΠΠΈΠΊΠΎΠ»ΠΈΡ, ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ ΠΌΡΠ·ΠΈΡΠΊΠΈΠΌ ΠΊΡΠΈΡΠΈΠΊΠ°ΠΌΠ° ΠΠ΅ΡΡΠ° ΠΠΈΠ½Π³ΡΠ»ΡΠ°, ΠΊΠ°ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎ Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡΠ° ΡΡΠΏΡΠΊΠΎΡ ΠΊΡΠ»ΡΡΡΠ½ΠΎΡ ΠΈΡΡΠΎΡΠΈΡΠΈ ΠΈ ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠΈ. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½ΠΈ ΡΡ ΡΠ΅ΠΊΡΡΠΎΠ²ΠΈ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρ ΡΠ°ΡΠΎΠΏΠΈΡΡ ΠΠΈΡΠ°ΠΎ, ΡΠΊΠ°Π·Π°Π½ΠΎ ΡΠ΅ Π½Π° ΠΠΈΠ½Π³ΡΠ»ΡΠ΅Π² Π½Π°ΡΠΈΠ½ ΠΌΠΈΡΡΠ΅ΡΠ° ΠΈ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ Ρ ΠΊΡΠΈΡΠΈΠΊΠ°ΠΌΠ° Π΄ΡΡΠ³ΠΈΡ
Π°ΡΡΠΎΡΠ° Π΄Π°ΡΠ° ΡΠ΅ ΠΎΡΠ½ΠΎΠ²Π° Π·Π° ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½ΠΈΡΠ°ΡΠ΅ Ρ ΡΡΠΏΡΠΊΠΎΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΡ ΠΊΡΠΈΡΠΈΡΠΈ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ ΠΈΠ·ΠΌΠ΅ΡΡ Π΄Π²Π°ΡΡ ΡΠ²Π΅ΡΡΠΊΠΈΡ
ΡΠ°ΡΠΎΠ²Π°, ΠΊΠ°Π΄Π° ΡΠ΅ ΠΏΠΎΠΌΠ΅Π½ΡΡΠΈ ΡΠ°ΡΠΎΠΏΠΈΡ ΠΈΠ·Π»Π°Π·ΠΈΠΎ.
ΠΡΠΈΠ»ΠΎΠ·ΠΈ Ρ ΡΡΠ±ΡΠΈΡΠΈ ΠΠ°ΡΡΠ½Π° ΠΊΡΠΈΡΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° ΠΎΠ΄Π½ΠΎΡΠ΅ ΡΠ΅ Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄ΡΠΆΠ°Π½ Π½Π°ΡΡΠ½ΠΈ ΡΠΊΡΠΏ ΠΈ Π½Π° Π·Π±ΠΎΡΠ½ΠΈΠΊ Π·Π° ΠΊΠΎΡΠΈ ΡΠ΅ ΠΈΠ·ΠΎΡΡΠ°Π»Π° Π΄ΡΠΆΠ½Π° ΠΏΠ°ΠΆΡΠ° Π·Π±ΠΎΠ³ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡΠ° ΡΠΎΠΊΠΎΠΌ ΠΏΠ°Π½Π΄Π΅ΠΌΠΈΡΠ΅ ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠΠ°ΡΠΈΡΠ° ΠΠ°Π³Π»ΠΎΠ² ΠΏΡΠΈΠΏΡΠ΅ΠΌΠΈΠ»Π° ΡΠ΅ ΠΊΡΠΈΡΠΈΡΠΊΠΈ ΠΎΡΠ²ΡΡ Π½Π° ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌ ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ ΡΠ°Π½ΠΎΡ Π΄ΠΈΡΠΊΠΎΠ³ΡΠ°ΡΡΠΊΠΎΡ ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠΈ, Π°ΠΊΡΡΠ΅Π»Π½ΠΎΡ ΡΠ΅ΠΌΠΈ Ρ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ ΡΡΡΠ΄ΠΈΡΠ° ΠΌΠ΅Π΄ΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΈ ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅, ΠΊΠΎΡΠΈ ΡΡ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ Ρ
ΡΠ²Π°ΡΡΠΊΠ΅ ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°ΡΡΠ° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. ΠΠ²Π°Ρ ΠΏΡΠΈΠ»ΠΎΠ³ Π½Π°ΡΠΎΡΠΈΡΠΎ ΡΠ΅ Π²Π°ΠΆΠ°Π½, Ρ ΠΎΠ±Π·ΠΈΡΠΎΠΌ Π½Π° ΡΠΎ Π΄Π° ΡΠ΅ Π½Π΅ ΠΎΡΠ΅ΠΊΡΡΠ΅ ΡΠΎΠ±ΠΈΡΠ°ΡΠ΅Π½ ΡΠ΅ΠΌΠ°ΡΡΠΊΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊ ΡΠ°Π΄ΠΎΠ²Π° ΡΠ²ΠΈΡ
ΡΡΠ΅ΡΠ½ΠΈΠΊΠ° ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌΠ°. ΠΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊ Rethinking Prokofiev, ΠΊΠΎΡΠΈ ΡΠ΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΠΎ ΠΠΈΠ»ΠΎΡ ΠΡΠ°Π»ΠΎΠ²ΠΈΡ, Π½ΠΈΡΠ΅ Π½Π°ΡΡΠ°ΠΎ Π½Π° ΠΎΡΠ½ΠΎΠ²Ρ Π½Π°ΡΡΠ½ΠΎΠ³ ΡΠΊΡΠΏΠ°, Π²Π΅Ρ ΡΠ΅ ΡΠ΅Π·ΡΠ»ΡΠ°Ρ ΠΎΡΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ
Π°ΡΡ
ΠΈΠ²ΡΠΊΠΈΡ
, Π°Π½Π°Π»ΠΈΡΠΈΡΠΊΠΈΡ
, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΈΠ·Π²ΠΎΡΠ°ΡΠΊΠΎ-ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠ²Π½ΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΠΏΡΡΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°. Π Π΅Ρ ΡΠ΅ ΠΎ ΠΈΠ·Π΄Π°ΡΡ Π½Π° ΠΊΠΎΡΠ΅ΠΌ ΡΡ Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅ΡΠΈ ΡΡΡΡΡΡΠ°ΡΠΈ Ρ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΡΠΈ ΠΎΡΡΠ²Π°ΡΠ΅ΡΠ° ΠΡΠΎΠΊΠΎΡΡΠ΅Π²Π°, ΠΎΠ΄ ΡΡΠ΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡΡΠΎΡΠ°, ΡΠ΅ Π·Π°Π²ΡΠ΅ΡΡΡΠ΅ ΠΏΠΎΡΠ΅Π±Π½Ρ ΠΏΠ°ΠΆΡΡ Π½Π°ΡΡΠ½Π΅ ΡΠ°Π²Π½ΠΎΡΡΠΈ.
Π Π΅Π΄Π°ΠΊΡΠΈΡΠ° ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΡΡΠ΄Π°ΡΠ½ΠΎ Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ Π½Π° ΡΠ°ΡΠ°Π΄ΡΠΈ Π΄Ρ ΠΠ°ΡΠ΅ΡΠΈΠ½ΠΈ ΠΠ΅Π²ΠΈΠ΄Ρ, Π΄ΠΎΡΠ΅Π½ΡΡ Π½Π° ΠΠ΄ΡΠ΅ΠΊΡ Π·Π° ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΠ°ΡΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³ ΠΈ ΠΠ°ΠΏΠΎΠ΄ΠΈΡΡΡΠΈΡΠ°ΡΠΎΠ²ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΡΠΈΠ½ΠΈ, ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ²ΠΎΠΌ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡΠ΅ΡΠ·Π΅Π»Π° Π΄ΡΠΆΠ½ΠΎΡΡ Π³ΠΎΡΡΠ΅-ΡΡΠ΅Π΄Π½ΠΈΡΠ΅ Π·Π° ΡΡΠ±ΡΠΈΠΊΡ Π’Π΅ΠΌΠ° Π±ΡΠΎΡΠ°. ΠΠ·ΡΠ·Π΅ΡΠ½Ρ Π·Π°Ρ
Π²Π°Π»Π½ΠΎΡΡ ΠΈΠ·ΡΠ°ΠΆΠ°Π²Π°ΠΌΠΎ ΡΠ²ΠΈΠΌ ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° ΠΊΠΎΡΠ΅ ΡΡ ΠΏΡΠΈΡ
Π²Π°ΡΠ°Π»Π΅ ΠΏΠΎΡΠ°ΠΎ ΡΠ΅ΡΠ΅Π½Π·Π΅Π½Π°ΡΠ° ΠΈ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡΠ΅ΡΡ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ
ΡΡΡΠ΄ΠΈΡΠ°.The commemoration of the fiftieth anniversary of Igor Stravinskyβs death (1882β1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composerβs opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinskyβs creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work.
Stamatis Zochios revisits the question of Stravinskyβs relationship with Russian folklore, by contextualising the composerβs output of the so-called βRussianβ period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moodyβs article sheds light on Stravinskyβs output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritainβs philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinskyβs interpretation of Maritainβs idea of homo faber, βman the makerβ. At the same time, he does not ignore the composerβs Russian origins, concluding that the works under examination are equally grounded in Stravinskyβs Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinskyβs contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinskyβs ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of βEurasianismβ, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated.
Christoph Flamm focuses on Stravinskyβs late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composerβs own statements. With Edward Campbellβs article we remain in the post-War era, yet the focus shifts from Stravinskyβs work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbellβs analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity.
The last two articles approach Stravinskyβs work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinskyβs contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinskyβs work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinskyβs ballet music, as Steinhauer demonstrates, attains a βmediated immediacyβ, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adornoβs criticism of Stravinsky with reference to Plessnerβs philosophical anthropology. He, therefore, challenges Adornoβs view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition.
On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing MarkoviΔβs selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinovβs research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethovenβs piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the βkinetic energy of musicβ. The last article in this section of the journal is Dina VojvodiΔ NikoliΔβs article dedicated to Petar Bingulacβs music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulacβs texts published in the journal Misao [Thought] and points to Bingulacβs way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulacβs writings within Serbian music criticism from the interwar period, when the journal Misao was published.
Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofievβs oeuvre. This collection has gathered together leading experts on Prokofievβs works, from the editors to the authors, and it deserves special attention from the scientific community.
The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies
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