Journal Name: Cognitive Linguistics Issue: Ahead of print.

The phenomenon of information conflict at the moment is an actual research object of many social and humanitarian disciplines. On the other hand, there is a lack of fundamental theoretical, primarily philosophical and methodological, research on this issue. This is expressed, inter alia, in the absence of philosophical and methodological grounds for isolating an information conflict from the totality of all objectively observed communications, i.e. demarcation of the phenomenon. The problem of finding criteria for an information conflict is of key (...) importance in the formation of the methodological foundations and categorical apparatus for studying this phenomenon. In this regard, the need to develop theoretical foundations for the demarcation of information conflict is an urgent research task. The object of this work is the phenomenon of information conflict as part of the communicative process. The subject of the research is the problem of demarcation of information conflicts from all aggregate communications. The purpose of the study is to describe and substantiate the existing object-oriented methodologies that allow for the demarcation procedure. The following tasks are adequately formulated for the purpose of the study: 1) describe the problem of demarcation; 2) identify the communicative grounds of the information conflict; 3) analyze and highlight the main approaches to the problem of demarcation of information conflict. The novelty of the work lies in the systematic description and structuring of methodological approaches to the problem of demarcation of information conflicts, as well as analysis of the boundaries of methodologies and approaches. In the course of the work, it was determined and proved that, relying solely on the theory of communication, it is impossible to adequately carry out the demarcation procedure; it is necessary to use additional, non-communicative demarcation criteria, which is due to the variety of demarcation approaches in various studies. In conclusion, conclusions are formulated about the limitations of object-oriented approaches for solving the problem of demarcation of information conflicts. (shrink)

The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the (...) musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

At the beginning of the third millenium the aspect of truth comes out to be especially topical. The greatest interest is risen by existentialistic and social aspects of the truth issue. Their correlation studying is the most productive way to research the aspect of truth. An individual life passes under certain circumstances, one of them being social reality. Presence of other people, necessity of communication and correlation of individual and social substances allows emphasizing a social side of the truth aspect. (...) The notion of truth is shaped under condition of intersubjectivity or within the process of social subjects interaction. On the one hand it provides a possibility to take the truth as an objectively existing phenomenon, on the other hand it transfers individual valuables and strivings into generally significant field. So Truth is destined to stay one of the most important and notional for a person concepts (despite of post-modernism attempts not to use it basically), as it legitimates a universal principle of common valuables availability for all people on the earth. (shrink)

У статті розглядається запропонований Теофаном Прокоповичем спосіб пояснення природи людського знання, своєрідне співвідношення істин релігії і науки. Досліджується значення гносеологічних поглядів Теофана Прокоповича у контексті новоєвропейської філософії. На основі порівняння поглядів українського мислителя з поглядами британського мислителя Дж.Локка розглядається теорія «вроджених ідей» в якості одного з основних способів пояснення пізнавальних здібностей людини. Досліджується специфіка звернення Теофана Прокоповича до «вродженої ідеї Бога» і обстоювання ним принципової потреби людини в істинному знанні. Автор акцентує увагу і на необхідності переорієнтації дослідницьких орієнтирів, які дають (...) можливість більш точно відтворити інтелектуальне середовище філософії Нового часу та особливості її розвитку в Україні як частині європейської інтелектуальної парадигми. (shrink)

In recent years the problem of scientific prediction has attracted a constantly increasing number of researchers. The fact that a number of philosophers, logicians, and representatives of concrete disciplines have turned to investigating the nature of scientific prediction is first of all because of the needs of the development of scientific knowledge itself, as well as of industry. The rapid progress of the natural and the social sciences puts in the foreground the task of studying the internal regularities of the (...) process of acquisition of knowledge, the techniques and methods of research, and in particular, so very important a function of science as prediction. (shrink)

Over the last decade, an array of policy interventions relating to children, young people and education in the UK have positioned pupil participation in the (re)design of school environments as a key imperative. Indeed, pupil participation is an explicit, core ideal of major, ongoing school (re)construction and (re)design programmes in the UK such as Building Schools for the Future, Academy schools, and Primary Capital Funding. The aim of this paper is to juxtapose the ideals of participation as expressed in national (...) policy statements, via-a-vis the ways in which participation in these contexts is being done (or not done) in practice. To this end, the paper presents findings from in-depth interviews with Local Authority officers responsible for the implementation of policies relating to school (re)building and (re)design in diverse localities. These interviews show how the idea(l) of pupil participation may, in practice, be foreclosed by contingencies, budgets, issues, debates, personalities and events at grassroots level. The paper will suggest that national policy-making regarding participation should be better grounded in the complex and diverse realities of the (re)design of school environments in practice. (shrink)

Topicality of the study lies in the fact that modern rationality as a significant achievement of civilization is simultaneously becoming a real threat to the mankind.Science, undertaking a humanistic mission, at the same time dehumanizes what it was aimed at: the system of values, education and culture.Acquired knowledge is often used to destroy the environment and humanity, and not for progress and well-being.Disruption of the harmony of natural, social and spiritual, underestimation of the anthropocentric dimension of scientific rationality put Homo (...) sapiens on the brink of being.Recently, in philosophical and social thought, the problem of the ways of forming a new humanistic world attitude and humanistically oriented science and ethical rationality has acquired particular urgency. Analysisoftheliterature. Scientific works of foreign and native authors, who began the study of this problem, are used:R. Andryukaitene, V. Vernadsky, M. Vishnevsky, V. Voronkova, J. Habermas, A. Gritsanov, I. Kasavin, A. Kornienko, K. Korsak, A. Lazarevich, V. Lectorkog, A. Mercier, R. Nugaev, V. Ratnikov, O. Sosnin, V. Stepin, J. Nikitina, M. Ratz, N. Reimers, A. Tolstoukhov, O. Tsira, V. Shvyrev, V. Shuper. Purposeofthearticle –philosophical understanding of the new rationality as a factor in the formation of a coevolution-innovation strategy for themodern world development. Theobjectiveofthestudy isananalysis of the essence of rationality, the characteristics of its main features and role in the formation of a coevolution-innovation strategy for the sustainable development of the mankind. The methodology of the study is based on an interdisciplinary approach, integrates modern practices of philosophy, philosophy of science, epistemology, ecology, ethics and axiology.Comprehension the complex problems of the rational / irrational, evolution / co-evolution, crisis / sustainable development dichotomy and their influence on the humanization of scientific knowledge was encouraged by the principles of historicism and global evolutionism, the dialectical method, methods of abstraction, generalization and conceptualization,as well as the methodology and principles of synergetics. The conclusions : The article studies the essence of rationality and the limitations of its current concept, the causes and features of the crisis of rational awareness of the modern world, due to the dehumanizing role of scientific and technological progress.It justifies the thesis that the situation can be changed by giving the scientific progress of the humanistic direction, forming the anthropocentric dimension of scientific rationality.Humanity must resolve an issue of rationality from the position of the humanistic world outlook and create a new model of science. The basis for solving this problem may be the modern understanding of humanism, which, in turn, will serve as the basis for the emergence of a new type of rationality.It is the rationality based on humanism ethics that can become the core of the co-evolution and innovation strategy for the sustainable development of mankind. Study findings are that it is humanistic rationality, based on co-evolutionary and innovative ethics, that provides global society as a system with a high level of stability regarding the destructive impact of crises,the formation of an innovative orientation, taking into account the need to bridge the potentially dangerous gap between modern civilizations – the scientific, technological and social humanistic ones. (shrink)