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The purpose of the study is to reconsider the "strict style" beyond the narrative of the "Soviet art" and to identify those characteristics that allowed individual artists from Ukraine, Estonia, Latvia, and Armenia to return to the national artistic tradition and find their own creative language that did not coincide with the values of the totalitarian system. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (philosophy, history) to identify the innovative features of the "strict style" as the first important step for the emergence of the art of the "dissenters". The comparative method is used to identify the differences in regional manifestations of the "strict style" based on the national artistic traditions of Ukraine, Estonia, Latvia, and Armenia. The systematic-analytical method is used to highlight the influence of the Khrushchev Thaw on the formation of new worldview values among the creative youth of the post-war period of the 1946s-1955s. The scientific novelty of the study is to identify the plot, plastic, and compositional characteristics of the "strict style" that became the reason for some national artists to search for national artistic traditions and interpret them using their own experience and artistic and figurative language. Conclusions. When comprehending the significance of the "strict style", one should note its importance for the beginnings of the revival of Ukraine's artistic traditions, which soon led to the emergence of "unofficial" art. While its founders, Russian artists, sought to convey the feat of labour of the Soviet man, our individual artists were able to demonstrate the difficult fates and tragedies of their own people (I.-V. Zadorozhnyi), moreover, using the techniques and imagery of avant-garde artists in their artistic language. The national artistic experience of the 1920s and early 1930s prompted them to revive and rethink their own heritage. The subjects, techniques of transmission, and compositional features were similar among the representatives of the "strict style", but the peculiar artistic thinking based on the worldview of their people made some national artists, as well as their colleagues from Estonia, Latvia, and Armenia, interpret the reality of their countrymen differently. [ABSTRACT FROM AUTHOR]

The purpose of the article is through clarification of the «nonconformism» concept, to prove the appropriateness of using the term «trans-avant-garde» when describing the stylistics of the works of Ukrainian artists of the 1970s and 1980s, for whom the «canons» of socialist realism were foreign and unacceptable. Research methods are based on the fundamental principles of art analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts. System-analytical and comparative-historical methods are used to identify the Ukrainian artistic tradition as a special phenomenon of the European context. The scientific novelty of the study consists in clarifying the definition of the «nonconformism» concept, in substantiating it as a cultural and social phenomenon, and in proving the legality of using the term «transavant-garde» in relation to the stylistic definition of the works of Ukrainian nonconformist artists of the 1970s and 1980s. Conclusions. Having analysed the phenomenon of «nonconformism», having revealed its significance as a cultural and social movement of those who disagreed with the totalitarian system of Soviet society, the feasibility of using the concept of «trans-avant-garde» in relation to the works of Ukrainian artists of the 1970s and 1980s was established in connection with the fact that, like their Western European colleagues, they continued to develop in their work the significant achievements of domestic avant-garde artists of the first third of the 20th century. [ABSTRACT FROM AUTHOR]

This article looks at the life and career of the Leningrad Non-Conformist artist, Vladimir Shagin, and examines the way in which the underlying conceptions, compositions, and pictorial devices that he developed in his works paid homage to, and derived inspiration from, the creative practice of Paul Cezanne. The author argues also that Shagin's art, as read through Cezanne's work, reveals Neoclassicism as a source for the intellectual and formal independence of the Leningrad nonconformists. [ABSTRACT FROM AUTHOR]

This article traces back the practices of social control over renegade youth and the strategies of the control's legitimization based on the case study of Joseph Brodsky's affair (1964) in Leningrad. Brodsky was prosecuted as a part of a non-conformist youth milieu; his case can be interpreted as an attempt to manage, identify, and destroy the milieus of non-conformist young people. Secret police, which will be viewed as a primary agent of social control, used several strategies to destroy such undesirable youth milieus. Though formally he was accused as a social parasite, the investigators wrote their own version of Brodsky's biography in the file, considering his past and his private networks. [ABSTRACT FROM AUTHOR]

Recently there has been a surge of interest in the intersection between epistemology and action theory, especially in principles linking rationality in thought and rationality in action. Recently there has also been a surge of interest in the epistemic significance of perceived peer disagreement: what, epistemically speaking, is the rational response in light of disagreement with someone whom one regards as an epistemic peer? The objective of this paper is to explore these two issues—separately, but also in connection with one another. I turn first to the idea that the normative standing of our actions depends on the normative standing of our beliefs. I endorse this idea. More precisely, I endorse a principle according to which sufficiently high credence in success conditions for a given goal-directed action is a necessary condition on rational execution of that action. I then turn to the debate concerning the epistemic significance of perceived peer disagreement. The basic issue is whether such disagreement is always epistemically significant in the sense of serving as a defeater of the initial credences of the disagreeing parties. Conformists argue that this is so while non-conformists deny it. I present a new argument against a brand of non-conformism that I call “strong non-conformism”. The key premise is the principle that sufficiently high credence in success conditions for a given goal-directed action is a necessary condition on rational execution of that action. I argue that, given this principle, strong non-conformism fails to yield the verdict that the epistemic requirement on rational action is violated in a case where, intuitively, it is violated. This is because strong non-conformism has it that disagreement with a perceived peer does not act as a defeater in the relevant case. Conformism fares better. [ABSTRACT FROM AUTHOR]

In this article I consider the characterization of Celia, the protagonist in Elena Fortún's "Celia and Her World" series (1929-1952), and the role of Fortún as a forerunner of women writers in the 1950s. I explore the ways in which Fortún presented herself as a female author offering alternative models of femininity to her readers through the character Celia and the social context of the series. In addition, I examine Fortún's shifting representation of Celia as a subversive character, and Fortún's ideological influence on female writers who used similar literary strategies. Using the point of view of the girl in her texts as an insurgent protagonist to reflect different sociohistorical moments in Spain suggests a continuity in Spanish narrative instead of an abrupt change after the Civil War. [ABSTRACT FROM AUTHOR]

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The article treats of the early land-art or Artifacts (often incorporating snow and ice) produced by Moscow artists Frantsisko Infante and Nonna Goriunova, especially with regard to the notions of landscape, reflectivity, play, infinity, and fluidity or limbo. [ABSTRACT FROM AUTHOR]

The aim of this publication is to determine the correlates of creative and transgressive behavior in the context of the model of the determinants of creative management. The aim of this study was to verify empirically the relationship between the symptoms of creative features (cognitively and characterlogically) and indicators of transgressive behavior. The determinants of subjective qualities of creative and transgressive behavior are analyzed in this article. The author has adopted the assumption about a role of transgressive behaviors in dynamics of creative behaviors (creative resources). The following set of methods has been applied in the research: 1) Questionnaire of Creative Behavior KANH (Popek, 2001; Popek, 2010); 2) Scale to Measure Transgression (STr), (Studenski, 2006). Activity, predominance, courage and high selfesteem - main indicators of functioning a man with a high level of subject creative features - have proved to be significantly correlated with transgressive indicators of behavior. Subject of creative features expressed in a creative attitude coexists with transgressive behaviors: pro-creative motivation in searching for changes, nonconformism, focus on activity and overcoming problems, openness and courage to take up new tasks, innovation and acceptance of novelty. The resulting configurations of features in a range of variables (characteristics of creative and transgressive behavior) correspond to factors conditioning the success in business and management. To a little extent the previous studies took into account the subjective features recognized as creative (in the cognitive and characterological sphere) and their relationship with predisposition for transgressive behavior. The obtained results of research could contribute to the existing scientific achievements in the field of management of important determinants and correlates with subjective features ensuring success. It is defined by a transgressive action - as a kind of activity type to be changed. Subjective characteristics of the creative (creative assets) increases the efficiency of the action. [ABSTRACT FROM AUTHOR]

In recent work ('Disagreement, relativism, and doxastic revision', 2014, Erkenntnis), J. Adam Carter argues that truth-relativism should be compatible with the so-called conformist response to peer disagreement about taste to the effect that subjects should revise their opinions. However, Carter claims that truth-relativism cannot make sense of this response since it cannot make sense of the idea that when two subjects are recognised as epistemic peers, they should acknowledge that they are equally likely to be right about the targeted issue. The main aim of this paper is a modest one: to argue that truth-relativists should not be worried about their alleged incompatibility with conformism for they should be non-conformists. [ABSTRACT FROM AUTHOR]

The works of Simone de Beauvoir and Marguerite Duras provide individual assessment of historical facts and social issues. Beauvoir – an icon of feminism, a socially committed writer – had a major impact on the mentality of the second half of the 20th century. The main problems addressed by the author are colonization, war in Algeria, the 1968 student uprising, and the women’s liberation movement. Her keen observation of the socioeconomic relations reveals the mechanisms of action of state institutions; she rebels against social inequalities, downgrading of women, and the bourgeois value system. Duras was also familiar with the issues of colonization, occupation, and Nazi savagery. Her texts and films criticize bourgeois and denounce social injustice. It is worth considering the extent to which the historical vision of these two great Frenchwomen is innovative. It might be equally interesting to assess how they influenced perception of reality by successive generations of readers. [ABSTRACT FROM AUTHOR]

Copyright of Timisoara Physical Education & Rehabilitation Journal is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the constitution of religious spaces and publics in the city through case studies of two non-conformist protestant churches in London: City Temple and the Metropolitan Tabernacle. This approach allows us to unpack broad arguments about changing religious cultures in the modern city by highlighting the specificities of everyday religious cultures. Despite similar histories, from Victorian prominence to wartime destruction and post-war decline and revival, there are considerable differences between these communities. One presents itself as an inclusive site for multicultural interaction, while the other foregrounds their traditional doctrinal principles. The more traditional approach has been far more successful, offering a sense of stability, tradition and belonging, which is clearly attractive to many churchgoers. This is simultaneously a multi-ethnic gathering and a 'mixophobic' place, in which a clearly bounded identity community is established, and where there is little encounter with those of different views. [ABSTRACT FROM AUTHOR]