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
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
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.