Justification of Landscape and Biotechnical Solutions for Designing Water Protection Zones

By comparing the three main approaches to the establishment of water protection zones of small rivers (normative, theoretical and landscape), the method of delineation water protection zones with the application of GIS-technologies (GIS), as well as the basin model of the river system and the position-dynamic structure of landscapes was proposed. The role of a multilevel system of biotechnical measures with the help of tree and shrub vegetation during the formation of water protection zones is show

Model of position-dynamic structure of river basins

In this work, we have presented semi automated means of modeling of position-dynamic structure (PDS) of river basins’ landscapes with application of geo-informational systems (GIS). Results of modeling were tested on the basin of one of headwaters. The structure of the model includes landscape lines, layers, sub-regions and regions. The model takes into account conditions of formation of landscape’s PDS in mountain and plain parts of river basinsyesБелгородский государственный университе

Multi-Genre Strategies of “Walking with Pushkin” by A. Terts (A. Sinyavsky)

Based on the material of the book “Walking with Pushkin” by Abram Terts (Andrey Sinyavsky), the goal is to determine the main narrative strategies that the writer implemented. The authors demonstrate that along with the genre definitions of “novel”, “novella”, “essay”, the narrative is mediated by the techniques of “philological prose” and scientific discourse. It is shown that markers of scientific discursively narrative SinyavskyTerts in “Walking with Pushkin” is the number of characteristic features: composite partitioning, the extension of the goals and objectives  of  the   analysis,   the   coverage of  the  history  of  the  problem,  selection   of  research  methodology,  the   definition   of the novelty of the work, the establishment of perspectives, providing structural integrity, respect of chronology in understanding material, the use of the bibliographic apparatus, etc. According to the authors, the experience of Sinyavsky, a research scientist, who defended the dissertation at MSU, working in world literature of the Academy of Sciences of the USSR, who read lectures at Moscow state University and the Moscow art theatre Studio, influenced the nature of the material in  the  “Walking.” and served as canon  of  structural  research. It is established that a “free”    manner    of    presentation of scientific observations is expressive means of focusing attention on the most pressing issues  of  domestic scientists  to update the relationship of history and modernity (his understanding of own creativity, manifestation of the principle of “pure art”, the semantics  of the principle of freedom within the literature of socialist realism, etc.)

Nostalgic Overtones in “The Autumn Cry of the Hawk” by I. Brodsky

The article offers a new perspective of the interpretation of the poem by I. Brodsky “The Autumn cry of a hawk” (1975). If the text is traditionally considered as the realization of the theme “the poet and the crowd”, then the nostalgic motifs of “the autumn cry” are highlighted in the work. It is shown that the first years of emigration formed certain milestones in Brodsky’s mind that required “intermediate” results, and the year 1975, the third year of emigration, actualized the motives of the “native nest” in the poet’s mind. However, unlike the usual angles of homesickness, the worldview of the herobird Brodsky outgrows the limits of nostalgic feeling, but acquires the features of an ontological myth about the laws of the existence of the Universe. The motives of the individual’s fate, freedom / lack of freedom of the individual obscure the motives of homesickness in Brodsky’s text, but the latter do not disappear without a trace, but are marked with a number of “American” and “Russian” details, images, word forms. The multiplicity of geographical toponyms (Connecticut, New England, Rio Grande), the redundancy of signs of “alien” reality (13 American states, “English” speech) allow us to explicate the invisible contrast “your own and others’ ”, reinforced by the antitheses “up / down”, “heat / ice”, “North / South”. The distinct plot of the poem (the flight of a hawk to his native places) turns out to be an important semantic entourage that enhances the depth of poetic perception

Intertextual Subtexts of Joseph Brodsky’s Elegy “You Will Return to Your Homeland. Well...”

The article offers an interpretation of Joseph Brodsky’s poem, rarely used for analysis, “You will return to your homeland. Well...” (1961). If traditionally Brodsky’s elegy in the intertextual aspect is considered as a “dialogue-repulsion” (A. Nesterov) with A. Vertinsky’s romance “Without Women”, then the work reveals other pretexts that at first glance seem alien to Brodsky’s love lyrics — these are texts of patriotic themes by S. Yesenin and M. Tsvetaeva. It is shown that Brodsky’s motive of homecoming is emphatically focused on “The Homecoming” and “The Soviet Russia” by S. Yesenin, in 1924, upon his return from America, formulated a sincere poetic confession in the extreme loneliness he experienced in his homeland (“My poetry is no longer needed here, / And, perhaps, I myself am not needed here either ...”). The prevailing idea of the dissimilarity of the poetry of Brodsky and Yesenin is questioned. The reference text of M. Tsvetaeva is the poem “The Homesickness. A long time ago...” (1934), as shown in the article, which served as an obvious prototype for “You will return to your homeland. Well...” The compositional structure of Tsvetaeva’s pretext with the dominant strategy of “affirmation through negation” determined the poetic organization of Brodsky’s elegy. It is argued that over time, the dialogic interaction of texts was accompanied by emotional and semantic recoding, the non-textual meanings in Brodsky’s poems grew

“Sometimes I Feel Like Shakespeare...” (Intertextual Layers of “Pilgrims” by I. Brodsky)

The article examines the well-known poem by I. Brodsky “Pilgrims” (1958), and offers a new, in-depth interpretation of it. The authors of the work focus on the “second” version of Brodsky’s text, supplemented in 1959 with an epigraph from a sonnet by W. Shakespeare. Starting from the epigraphic lines, the authors of the article instead of the generally accepted interpretation of the poem (through the traditional motif of the pilgrim’s wanderings as the endless movement of a person through life) bring to the fore the image (post)Shakespeare’s pilgrims-thoughts, pilgrims-feelings. Changing the perspective of perception allows them to see deeper layers of Brodsky’s poem and re-interpret already familiar images and motifs. Thus, the title lexeme of the text — “pilgrims” — is explained; the “strange” image of the “blue sun”, interpreted by critics as an element “from science fiction”, is reinterpret-ed; the semantics of the motif of the modern “bar”, read by researchers “as a symbol of mysterious foreign luxury”, is explained; the “unexpected” quotation in the text of a poem by N. Nekrasov, unloved by Brodsky, analyzed and explained; etc. Identification of broad intertextual layers of “Pilgrims” — poems by K. Balmont, V. Bryusov, F. Sologub, A. Akhmatova, O. Mandelstam, M. Lokhvitskaya, etc. — allows the authors of the work to demonstrate the multiplied potential of the poem, to in-crease the intensity of the tragic understanding of the world by the lyrical hero of Brodsky

Gospel of Joseph (I. Brodsky’s poem “Gorbunov and Gorchakov”)

The article traces the intertextual layers of I. Brodsky’s poem “Gorbunov and Gorchakov” (Shakespeare, Goethe, Dante, A. Chekhov, L. Andreev, M. Bulgakov, etc.), establishes a connection with the sacred texts of the Old and New Testaments. The hidden disciple (apostolic) plot is revealed and, as a result, a different arrangement of characters is proposed than is traditionally accepted in Russian studies: the heroes Gorbunov and Gorchaks are considered not as opponentsantipodes, but as heroes closely connected, in particular, by the relations of the teacher and the follower. The three-part (conditional) composition of the poem, focused on the three days and three nights depicted in the text, with its symbolic trinity emphasizes the progressive apostolic path of Gorchakov and emphasizes his special role in the fate of Gorbunov (after L. Andreev, not Judas the traitor, but Judas the disciple). The inner “follower” layer of the poem allows Brodsky to move to the archetypal plot, metaphorizing details and symbolizing situations, translating them to a higher level, saturating them with a capacious philosophical and poetic meaning. The well-thought-out chronotopic structure of the poem — Easter Eve, Holy Week, madhouse — is based on complex allusions and the “internal semantics” of the sign, number, and letters. The theological function in Brodsky’s poem is assumed by the Word, the divine Verb

The experience of using the joint control devices of voltage and reactive power regulation on a laboratory bench

The paper demonstrates an approach to the creation of the mathematical model of electric power transmission grid with using an artificial neural network for training a centralized system of ACS RPVC. The efficiency of its application was proved during the full-scale experiment on the laboratory bench

In Search of Self-Knowledge (Intertext of I. Brodsky’s Poem “The Procession”)

In the article, based on the material of the “mystery poem” by I. Brodsky “The Procession” (1961), intertextual links are traced that allow us to penetrate into the deep layers of the poem, to see behind its plot not the story of a love disappointment (I. Romanova) or the motives of the farcical comedy dell’arte (E. Fetisova), but philosophical reflections on time, on life and death (life-death). The intertextuality in “The Procession” goes beyond literature: the compositional structure of the poem is mediated by the influence of jazz variations and blues repetitions. As a musical pretext of “The Procession”, the classic of the Leningrad dixieland “When the saints go marching in...” is attributed. According to the jazz harmony the plot of the poem is formed as a series of zongs-voices, variants-improvisations of Hamlet’s theme “To be or not to be?” (“life / death”), which in Brodsky’s poem received a subjective version: “death comes as if for the first time...” The “vortex” composition, mediated by the rhythms of jazz, allows Brodsky to lead the hero through all the circles of Dante’s “Hell”, bringing him closer to “Purgatory” in the final poem and giving him the opportunity to pass initiation, to be among the “initiates”. The hero does not reach the heights of “Paradise”, but he is granted “even breath [verse]”, explicating the idea of an eternal life march to an unattainable world harmony

Module-rating technology of the educational process "RITM" and prospects of its development

The article deals with an information technology of the educational process. The technology is based on module-rating assessment of students' knowledge and implemented in the form of tool system RITM. The system provides the use of a single ordinal scale of assessment for the unification of intermediate and final control of students' knowledge. The use of simulation of the educational process allows to extend the functionality of the system and adapts the RITM to the requirements of State educational standards of the 3rd generationПредлагается информационная технология организации учебного процесса. Технология основана на модульно-рейтинговой оценке знаний обучающихся и реализована в виде инструментальной системы РИТМ. Система обеспечивает применение единой порядковой шкалы оценки знаний для унификации промежуточного и итогового контроля уровня знаний обучающихся. Применение имитационного моделирования образовательного процесса позволяет расширить функциональные возможности и адаптировать систему РИТМ к требованиям государственных образовательных стандартов 3-го поколени