Плагиат как формальная и коммуникативная проблема дизайна в брендинге территорий
The article is devoted to the problem of borrowing, reproduction of similar constructive and visual-graphical solutions, as well as plagiarism in the field of territorial branding, arising due to a number of factors and conditions of contemporary visual communication, as reflected in the work. This problem is relevant for the perception of visual identification of the target audience and has a direct impact on the existence of a visual brand-identification of the territory in a public space and marketing communications of the brand territory.
The problem of plagiarism is actively being discussed in academic and administrative circles. However, a similar sounding phenomenon of self-plagiarism has not achieved the proper disclosure, although it is widespread in the scientific community(both global and domestic). In this article we will attempt to examine the nature of self-plagiarism, identify the reasons behind its existence, and describe ways to deal with it.
Students' internet usage attracts the attention of many researchers in different countries. Differences in internet penetration in diverse countries lead us to ask about the interaction of medium and culture in this process. In this paper we present an analysis based on a sample of 825 students from 18 Russian universities and discuss findings on particularities of students' ICT usage. On the background of the findings of the study, based on data collected in 2008-2009 year during a project "A сross-cultural study of the new learning culture formation in Germany and Russia", we discuss the problem of plagiarism in Russia, the availability of ICT features in Russian universities and an evaluation of the attractiveness of different categories of ICT usage and gender specifics in the use of ICT.
This article rises the problem of authenticity ot the works by students and the comprehension of acceptable quoting by both students and teachers. All examples are shown from one typical essay that has successfully passed "Antiplagiat" verification
The purpose of this book is to teach students how to write extended essays in English. It is supplementary to the British course book ‘English for Academic Study: Extended Writing and Research Skills’ (Garnet Publishing Ltd.). It was designed for students , teachers and those who are interested in obtaining the skill of extended essay writing.
Today we could admit the growing demand for high educated experts, but modern technologies provide not only new learning opportunities, but also enormous amount Web-resources to plagiarize. In this paper we try to investigate role of intrinsic motivation on attitude towards plagiarism. Some results received during a project “A cross-cultural study of a new learning culture in Germany and in Russia” concerned intrinsic motivation of ITstudents and attitude to plagiarize are discussed. Analysis showed absence of significant differences in intrinsic motivation and significantly more tolerance of Russian students to plagiarism. We presented analysis of reasons for plagiarism and probable ways to solve with this problem in educational practice.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.