10,035 research outputs found
Chipped Stone Assemblage of the Layer B of the Kamyana Mohyla 1 Site (South-Eastern Ukraine) and the Issue of Kukrek in the North Meotic Steppe Region
No full textThe layer B is one of the lower layers of the long stratigraphic sequence of the Kamyana Mohyla 1 site. The layer B received eight new AMS radiocarbon dates that clarified its chronology: 7950–7300 calibrated years BC. They are in a reasonable correspondence with the dates for lower and upper layers. The lithic assemblage belongs to Kukrek cultural aspect. It is characterized by pencil-like conical cores, Kukrek inserts, Kukrek burins and Dęby burins, nongeometric microliths (oblique points). The assemblage finds close parallels in the sites of Kukrek, Ihren VIII, Melnychna Krucha SU4 and Domchi-Kaia. They can be united into Kukrek sensu stricto cultural unit. The overlying layer C yielded somewhat different complex that finds parallels in the materials of the so-called “Kukrek cultural tradition.” Due to clear stratigraphic position of these units in the Kamyana Mohyla 1 sequence, we are able to differentiate Kukrek sensu stricto and “Kukrek cultural tradition” and suggest their respective chronological positions
Dialogic Elements of Bakhtin in the Novel Siddhartha
No full textThis article analyzes the voices of the characters which are intertwining into dialogic forms. The voices did not demonstrate its own power, but rather let other voices have its own characteristic while remaining there
until the end of the story. For example, Siddharthas parents voices remained a Brahmin . Govinda’s voice remained a Samana . Mikhail Bakhtin called such characteristic dialogue as Internally Persuasive Discourse
.
Apparently this novel is loaded full of Bakhtins carnival behavior, because the composition and the plot of the story, or the position of the author as well as the dialogue, a hallmark of Socratic Dialogue or Menippean Satire
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Unveiling Bakhtin’s carnival stage, a variety of scandals, eccentric behaviors, ethic violations, sharp contrasts appear. The polyphony nature in this novel is in the form of counterpoint models voices intertwined together without negating each other, similar to the Weltemperklavier by Johan Sebastian Bach in the Baroque music era
THE POETIC WORD AS THE CREATOR OF BEING IN MARTIN HEIDEGGER'S HERMENEUTICS
No full textThe article deals with the Heidegger's hermeneutic conception of the language. The philosopher interprets the language as an expression of the true being and a path to the forgotten human nature. However, the analysis of Hoelderlin's works makes Heidegger understand the poetry as a verbal creation of being and the role of a poet as a demiurge and a mediator between the gods and the people
ЧАС ЯК УЯВА І ЧАС ЯК БУТТЯ: ЕМІЛЬ ШТАЙҐЕР VERSUS МАРТІН ГАЙДЕҐҐЕР
No full textThe paper explores the philosophical grounds underlying the concept of immanent interpretation of literarywork proposed by a well-known Swiss literary scholar Emil Staiger. We chose to focus upon the category oftime which E.Staiger had borrowed from the philosophy of Martin Heidegger in order to transpose it into therealm of fundamental poetics.Стаття присвячена філософським основам теорії іманентної інтерпретації літературного твору відомогошвейцарського літературознавця Еміля Штайґера. У центрі нашої уваги – категорія часу, що її Е. Штайґерзапозичив з філософії Мартіна Гайдеґґера й переніс у сферу поетики
Project of a bakery workshop for the production of bakery products from wheat flour
No full textТемою кваліфікаційної роботи є «Проєкт цеху з виробництва хлібо- булочних виробів із пшеничного борошна». Кваліфікаційна робота складається зі вступу, трьох розділів, списку використаних джерел із 8 найменувань. Загальний обсяг роботи становить 58 стор.У першому розділі приведено техніко-економічне обґрунтування проекту. В другому розділі кваліфікаційної роботи бакалавра проілюстрована технологічна частина, яка складається з таких частин: обґрунтування заходів з будовою підприємтсва, вибір, опис та обґрунтування технологічних схем виготовлення запроектованого асортименту, наведені технологічні розрахунки, які містять у собі розрахунок продуктивності печі, пофазних та виробничих рецептур, виходу виробів, витрат сировини і площ для її зберігання. Третій розділ містить інформацію про охорону праці та безпеку життєдіяльності.The topic of the qualification work is " Project of a bakery workshop for the production of bakery products from wheat flour ". The qualification work consists of an introduction, three sections, a list of used sources from 8 titles. The total volume of work is 58 pages. In the first section, the technical and economic justification of the project is presented. In the second chapter of the bachelor's qualification work, the technological part is illustrated, which consists of the following parts: justification of measures with the structure of the enterprise, selection, description and justification of technological schemes for the production of the designed assortment, technological calculations are given, which include the calculation of the productivity of the furnace, phase and production recipes, output of products, consumption of raw materials and areas for its storage. The third section contains information on occupational health and safety.Зміст 5
Вступ 6
1. ТЕХНІКО-ЕКОНОМІЧНЕ ОБҐРУНТУВАННЯ ПРОЕКТУ 7
1.1. Доцільність будівництва хлібобулочного цех 7
1.2. Характеристика сировинної зони 9
1.3. Обґрунтування асортименту продукції 10
1.4. Характеристика каналів реалізації .10
2. ТЕХНОЛОГІЧНА ЧАСТИНА ПРОЕКТУ 12
2.1 Вибір, обґрунтування і опис технологічних схем 12
2.2. Характеристика сировини, основних і допоміжних матеріалів 14
2.3. Вибір і розрахунок продуктивності провідного обладнання 24
2.4. Технологічні розрахунки 26
2.5. Розрахунок площ складських приміщень для сировини, тари, допоміжних та пакувальних матеріалів, площ холодильних камер та складів готової продукції 39
2.6. Розрахунок та підбір технологічного обладнання 43
2.7. Технохімічний контроль виробництва 49
3. ОХОРОНИ ПРАЦІ ТА БЕЗПЕКА В НАДЗВИЧАЙНИХ СИТУАЦІЯХ .53
Список використаних літературних джерел 5
“OEDIPUS THE KING” BY SOPHOCLES IN THE IMMANENT INTERPRETATION OF EMIL STAIGER
No full textThe article aims to distinguish the original immanent reception of Sophocles tragedy “Oedipus the
King” by the famous Swiss literary scholar Emil Staiger and to present it to Ukrainian explorers for the
first time. Due to the complex application of the historical-cultural, comparative, descriptive methods, the
methods of linguistic-stylistic and figurative analysis, the authentic change of the traditional angle of interpretation has been identified: it eliminates the motif of the ancestral curse based on the Theban cycle of
myths and shifts the emphasis on personal guilt. It is established that Staiger departs from the traditional
explanation of category άμαρτία as “error” and interprets it as a deep cause of offense, which lies within
ourselves, but is devoid of malice, which weighs all the consequences and pursues a specific goal. A “plastic Greek” perceives his guilt as destiny, and destiny differs from conscious activity.
It is noted that the researcher distinguishes the work of Sophocles from a number of “tragedies of
fate”, recognizing the oracle as a core element of dramatic tension creation. Moreover, the oracle is not
interpreted as a symbol of blind reign of eternal fate, but only as a sign of infinite divine knowledge. Thus,
the central conflict of the tragedy is the antagonism between Apollo and Oedipus, the god and the mortal: it is not a matter of showing that everything on earth is predetermined, but of distinguishing between
infallible knowledge of god and limited knowledge of man and illustrating the gap between man and god.
“Know thyself!” – know that you are a human, not a god – this famous aphorism can be considered the idea
of tragedy, and Oedipus is the embodiment of the finiteness of human knowledge.
It is stated that due to the motive of the court the whole tragedy is perceived as a model of Staiger’s
dramatic style (observability of the action, brief description of the characters, conciseness of language). It
is notable that the role of judge takes the protagonist himself and he finds the criminal in himself. So the
movement returns to its starting point: the circle composition in “Oedipus the King” becomes a loop that
is tightened around the neck of the hero. The interpreter names it “tragic irony”, which permeates the semantic outline of the work (especially the double meaning of the words of the characters) and it is manifested in each plot (the man himself fulfils the prophecy, trying hard to divert it).
Staiger`s distinctive interpretation of the problem of freedom is emphasized: no matter how deceived Oedipus goes, he comes to admit his guilt and realize the need for punishment, and in the choice of
punishment lies his freedom. Ultimately, Oedipus must be defeated in order to preserve the truth of the
divine word. However, wilful acceptance of punishment is not a reconciliation of freedom (the hero fought
against his fate) and necessity (he lost the fight against fate) in the classical sense, but rather it is related to
the tragic emotions, which cause admiration
DIFFERENTIATION OF THE CONCEPTS WILL AND FREEDOM IN THE CONTEXT OF UKRAINIAN AND GERMAN LINGUOCULTURES
No full textУ статті висвітлено результати дослідження основних критеріїв диференціації концептів ВОЛЯ i СВОБОДА, здійсненого методом зіставного аналізу фразеологічних одиниць (ФО) української та німецької мов. Концепти диференційовано не лише в культурологічному аспекті та функціональності крізь призму кореляції із внутрішнім світом і парадигмою морально-ціннісних настанов людини, але й у їх філософському трактуванні. Констатовано етимологічну та семантичну гомогенність фразеологічних одиниць обох мов з компонентом СВОБОДА / FREIHEIT, що реалізується у трьох значеннях: існування без залежності від когось, перебування не в неволі, можливість діяти без заборон і перешкод у визначеній сфері. Більш диферентним постає концепт ВОЛЯ, оскільки він базується насамперед на лінгвокультурологічних конотаціях, закорінених у філософській картині світу окремого етносу. Показано, що загалом цей концепт відображає національну специфіку осмислення взаємопов’язаних понять «бажання», «влада», «свобода», і проілюстровано випадки асиметрії фразеологічних одиниць у ракурсі національних лінгвокультур. Так, ВОЛЯ вербалізується в українських фразеологічних одиницях із такою семантикою: свідоме регулювання своїх учинків, хотіння, владна поведінка, незалежність у діях; а WILLE у німецьких із такою: здатність наважуватися на якісь дії на основі осмисленої мотивації, твердий вольовий намір, усвідомлене прагнення до мети, виконання чиєїсь волі. Зроблено висновок, що концепт ВОЛЯ є релевантним насамперед для української етнокультури, де він постає невід’ємним компонентом національної свідомості, закоріненим історично. Натомість у фразеологічних одиницях німецької мови WILLE пов’язується майже суто з вольовою сферою особистості, а FREIHEIT не є питомим елементом німецької лінгвокультури. Здійснений огляд філософської думки засвідчив, що традиційно філософи не надавали поняттю «воля» семантики свободи: в античності воля поєднувалась із долею, у Новий час вона тлумачилась як свідомий феномен, розумний за своєю природою, а в модернізмі еволюціонувала до концепцій «волі до життя», «волі до влади» та «волі до пізнання і творчості». Аналізовані нами філософеми корелюють лише тоді, коли йдеться про «свободу волі» як деякі обмеження бажань людини.The article deals with the investigation of the main criteria for differentiating the concepts WILL and FREEDOM, carried out by means of a comparative analysis of phraseological units of the Ukrainian and German languages. The concepts are differentiated not only in the cultural aspect and functionality through the prism of correlation with the inner world and the paradigm of moral and value attitudes of a person, but also in their philosophical interpretation. The authors state the etymological and semantic homogeneity of the phraseological units of both languages with the component SVOBODA / FREIHEIT, which is realised in three meanings: existence without dependence on someone, being not in imprisonment, the ability to act without prohibitions and obstacles in a certain sphere. The concept WILL is more differentiated, since it is based primarily on linguocultural connotations rooted in the philosophical picture of the world of a particular ethnic group. It is shown that this concept reflects the national specificity of understanding the interrelated concepts of “desire”, “power”, “freedom”, and cases of asymmetry of the phraseological units in both national linguocultures are illustrated. Thus, VOLIA is verbalised in Ukrainian phraseological units with the following semantics: conscious regulation of one’s actions, desire, powerful behaviour, independence in actions; and WILLE in German with the following: ability to take certain actions on the basis of meaningful motivation, strong willed intention, conscious striving for a goal, fulfilment of someone’s will. It is concluded that the concept VOLIA is relevant primarily for Ukrainian ethnoculture, where it is an integral component of the national consciousness, rooted in history. Instead, in the phraseological units of the German language, WILLE is associated almost completely with the volitional sphere of the individual, and FREIHEIT is not a specific element of German linguoculture. The review of philosophical thought has shown that traditionally, philosophers did not attach the semantics of freedom to the concept of will: in antiquity, will was combined with fate, in modern times it was interpreted as a conscious phenomenon, reasonable in nature, and in modernism it evolved to the concepts of “will to life”, “will to power” and “will to cognition and creativity”. The analysed philosophemes correlate only in the concept of “free will” as a certain restriction of human desires
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Rules of Disengagement: Author, Audience, and Experimentation in Ukrainian and Russian Literature of the 1970s and 1980s
No full textIs there a direct correlation between the degree of an artist’s participation in ideologically defined discursive practices and the aesthetic value and expressive innovation of her or his work? How does the concept of the implied audience influence an author’s approach to the creative process? How relevant is the author’s own self-projection in her or his works to their aesthetic quality? Examining these and other questions, this dissertation studies the strategies of an artist’s engagement with or disengagement from repressive political systems which are understood here as mechanisms of putting forward demands regarding the artist’s creative output.
Questions of late Socialist Realism and its national variants, ideological art, kitsch, mass literature, narodnytstvo (populism), “chimerical” (“whimsical”) prose, totalitarian culture, shistdesiatnytstvo (movement of the generation of the 1960s), and cultural heritage define the theoretical framework of the dissertation. The study discusses the period of the 1970s and 1980s in the Soviet Union, focusing on Ukrainian literature and its dynamics during the Stagnation Era and perestroika. Examples from Russian literature test the argument and provide opportunities for comparative analysis. Within Ukrainian literature of the 1970s and 1980s, the dissertation examines the prose works of Valerii Shevchuk and Volodymyr Drozd and poetry of Petro Midianka and Oleh Lysheha. Within Russian literature, the study discusses Liudmila Petrushevskaia’s prose works and Elena Shvarts’s poetry. The authors and their works illustrate the range of possible attitudes towards participation in the system of Soviet cultural production. Close readings of the authors’ representative works demonstrate how complex negotiations with the system are reflected in the aesthetic quality and expressive ability of literary works. The dissertation shows the significance of the author’s concept of the implied audience and her or his own self-projection as an author for the creative process and its outcome.Slavic Languages and LiteraturesUkrainian Literature; Russian Literature; Ukraine; Russia; Soviet Union; Stagnation Era; Perestroika; Socialist Realism; Ideological Art; Kitsch; Mass Literature; Narodnytstvo (populism); “Chimerical” (“Whimsical”) Prose; Totalitarian Culture; Shistdesiatnytstvo (movement of the generation of the 1960s in Ukraine); Cultural Heritage; Valerii Shevchuk; Volodymyr Drozd; Petro Midianka; Oleh Lysheha; Liudmila Petrushevskaia (Petrushevskaya); Elena Shvart
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