Implementation of qualitative and mixed methods researches

The objective of the qualitative and quantitative integration in research designs is the reconciliation between paradigms and methods in research in social science. The objective to specify the general epistemological formulations on which qualitative methods are based in more precise and current methodological proposals, since we are in an exciting moment in the qualitative research in which it is appreciated a clear tendency in the use of a mixed methods research. During the Twentieth-First Century that have favoured the rise of mixed methods researches that enhance the mutual invigoration of the two types of methods, and facilitate the triangulation through operations. The aim of this track is to provide a space for reflection and put into practice the foundation, operationalization, and fields of application of qualitative and mixed methods researches.publishe

Україна – Канада: сучасні наукові студії

The materials of the international collective monograph show the latest Ukrainian-Canadian socio-political, historical, philological, cultural, educational and pedagogical research in the field of modern Canadian Studies. The monograph includes the investigations by several scientists from Ukraine and Canada (from Edmonton, Lutsk, Kyiv, Lviv, and Sumy). Such publication comes out in Ukraine for the first time. For scholars, postgraduates and doctoral students, undergraduates and lecturers of the faculties of international relations, foreign philology, history, political science, philology and journalism, education and social work, Canadian centres in Ukraine and centres of Ukrainian Studies in Canada, as well as for anyone interested in research of Ukrainian-Canadian relations

"Vysotsky's Soul Packaged in Tapes": Identity and Russianness in the Music of Vladimir Vysotsky

This study examines the relationship between music, identity, and Russianness as demonstrated by the songs of the bard Vladimir Vysotsky. The career of Vysotsky occurred within the context of Soviet Russia, but more broadly, his songs embody characteristics specific to Russian culture. For this study, I draw on the fields of ethnomusicology, history, and cultural studies to assist in the interpretation of music and identity in a cultural context. By investigating the life and career of this individual, this study serves as a method in which to interpret the identity of a musical performer on multiple levels. I gathered fieldwork data in Moscow, Russia in the summers of 2003 and 2004. Information was gathered from various sites connected to Vysotsky, and from conversations with devotees of his music. The role of identity in musical performance is complex, and to analyze Vysotsky's Russianness, I trace his artistic work as both 'official' actor and 'unofficial' musician. Additionally, I examine the lyrics of Vysotsky's songs for the purposes of relating his identity to Russian culture. In order to define 'Russianness,' I survey theoretical perspectives of ethnicity and nationalism, as well as musical and non-musical symbols, such as the Russian soul (dusha), all of which are part of the framework that creates Russian identity. In addition to Russian identity, I also address a performer's musical identity which focuses mainly on musical composition and performance. In determining Vysotsky's unique musical identity, I compare the compositions of his avtorskaya pesnya ('author song') to two other bards who were his contemporaries. This comparative analysis demonstrates that even within the same musical genre, performers employ distinctive compositional and performance practices particularly identified with that individual. I conclude that identity is a multi-layered framework, and that this framework is, in actuality, comprised of different identities. In the case of Vysotsky, some songs display a national identity, whereas in others examples, he displays an identity based on social status or ethnicity. The arrangement of these identities can change, and interpretation of the identity framework is dependent on specific music examples and performance contexts

Weathered Words : Formulaic Language and Verbal Art

Formulaic phraseology presents the epitome of words worn and weathered by trial and the tests of time. Scholarship on weathered words is exceptionally diverse and interdisciplinary. This volume focuses on verbal art, which makes Oral-Formulaic Theory (OFT) a major point of reference. Yet weathered words are but a part of OFT, and OFT is only a part of scholarship on weathered words. Each of the eighteen essays gathered here brings particular aspects of formulaic language into focus. No volume on such a diverse topic can be all-encompassing, but the essays highlight aspects of the phenomenon that may be eclipsed elsewhere: they diverge not only in style, but sometimes even in how they choose to define “formula.” As such, they offer overlapping frames that complement one another both in their convergences and their contrasts. While they view formulaicity from multifarious angles, they unite in a Picasso of perspectives on which the reader can reflect and draw insight.Peer reviewe

Current issues of the Russian language teaching XIV

Collection of papers “Current issues of the Russian language teaching XIV” is devoted to issues of methodology of teaching Russian as a foreign language, to issues of linguistics and literary science and includes papers related to the use of online tools and resources in teaching Russian. This collection of papers is a result of the international scientific conference “Current issues of the Russian language teaching XIV”, which was scheduled for 8–10 May 2020, but due to the pandemic COVID-19 took place remotely

The Stage and the Dance in Medias Res: An Ethnographic Study of Ideologies Associated with Tradition and Continuity in a French Ballet Academy in the United States

The anthropological study of dance is particularly relevant to scholars who work on theories of embodiment and social practice, as well as those concerned with the production of history and ideologies, for dance concerns the deliberate movement of the body across space and in time, and within a particular socio-cultural context. Based on a year and a half of ethnographic research at a pre-professional ballet school in New York City that specializes in teaching the "classical French" form, this study applies an anthropological understanding of ideologies and processes in education to classical forms of ballet. Its analysis of how the ideological system associated with the aesthetics of ballet is created and recreated, in relation to shifting concepts of tradition, suggests that the process of establishing and maintaining institutional boundaries and "sculpting" the bodies of students in the classroom frames the ways that students are related to, and develop relationships with, the ideologies that they encounter. Both the school, as an institution, and individual students are able to navigate and position themselves within the landscape formulated by these ideologies through the development of social networks, the formulation of individual institutional genealogies, and the development and presentation of choreography in selected venues. These processes illustrate the ways in which ideological systems are articulated, developed, and altered in relation to understandings of the human body

Video Vortex reader : responses to Youtube

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives