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Bogor is a city in Indonesia with a variety of potential scientific tourism objects, such as historical buildings, educational institutions, and research institutions. Although its existence is always needed by various parties as a reference for learning, the object has not been managed optimally in an integrated system, so it does not have a significant impact on tourism activities in Bogor City. This study aims to analyze the variables that influence tourism planning and the pattern of relationships between actors to build a sustainability strategy for scientific tourism in Bogor City. This study was conducted using the Micmac and Mactor methods. The results showed six important variables for developing sustainable scientific tourism in Bogor City: infrastructure, tourism resources, promotion, investment, regulation, policy, and research and education institutions. Meanwhile, the Government, Badan Riset dan Inovasi Nasional (BRIN), the Ministry of Environment and Forestry, the Ministry of Agriculture, and the Regional Council are important institutions/actors in the development of sustainable scientific tourism. This research provides an overview of the key variables and actor roles that are most influential on the success of tourism development in the future and provides a basis for policymakers to prioritize the development of a scientific tourism development strategy in Bogor City. [ABSTRACT FROM AUTHOR]

Slum settlements have become a global issue and a challenge for city governments around the world, including the city of Pekanbaru, Indonesia. Improvement efforts have been made through the Kotaku program, which began in 2016-2019 by integrating various resources and funding, making local governments the main actors, and collaborating with stakeholders through policy networks. This study aims to explain the policy network in the Kota Tanpa Kumuh (Kotaku) program in Pekanbaru City. This research uses qualitative case studies through in-depth interviews with 23 informants (government, private sector, academics, and the community) directly involved in the Kotaku program in Pekanbaru City. The research results show that policy networks are formed through administrative arrangements and formal institutional structures. The quantity of resources of policy actors will affect the quality of interactions and interrelations in the context of public policy analysis. The resources needed for funding, knowledge, expertise, and information sharing are available in policy networks and are already used by most network actors. The actor's roles and responsibilities determine the position and boundaries of actors. The practice of policy networking in the Kotaku program has not gone well because it still encounters several obstacles, especially the lack of cooperation, coordination, commitment, institutional capacity, and the use of integrated data, which are identified as key conditions that facilitate policy networks. [ABSTRACT FROM AUTHOR]

The article examines the history and practices of establishing monuments to participants of the Second World War (Great Patriotic War) that appeared in Kazakhstan after the collapse of the Soviet Union. Monuments are considered as a certain epistemological source for studying the various trends of the time, as evidence of public discourses popular during the period from the early 1990s to the present. Phenomenological and existential approaches are used in interpreting the question of how to understand heroism, what it means to be a hero, and how this phenomenon is correlated with ideas of heroism in Kazakh culture. The article is based on the analysis of cases related to the personalities of Bauyrzhan Momishuly, Rakhymzhan Qoshqarbaev, Aliya Moldagulova and Manshuk Mametova. The analysis includes: determining the location of the monuments; visual documentation and initial description. Content analysis of media materials and specialized literature on genealogy (shezhire), interviews with actors and experts, collecting oral histories, and analyzing documents accompanying the appearance of monuments. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 research is motivated by theoretical as well as practical, personal examples, explaining why I believe the realm of radio theatre is metaphorical and original. The first part of the article explores three elements of acting technique are presented: Imagination, Voice and Tempo-rhythm. These are inevitably found in radio theatre, showcasing the enduring relevance of the Stanislavski method, which can be a demonstration of the universality over time of the way in which the Russian theoretician thought about the theater. Subsequently, the paper discusses the National Radiophonic Theatre as a beacon of top-quality theatre and delves into the independent radio project Legendele Dobrogei, conducted in Constanța, in which I participated, portraying twenty roles across twenty radio productions. The final section of the article, brings to the attention of the readers what is the role of the actor in the whole story of the radio theater, a story full of metaphors that appear when you look at them with the mind's eye. [ABSTRACT FROM AUTHOR]

In this article, the author writes from her perspective as an actor, in particular about her performance of the title character in Eugene O'Neill's "Anna Christie" (1921) with the Eugene O'Neill Foundation in Danville in 2023. She speaks in conversation with Pauline Lord, the first actor to portray Anna Christopherson, and specifically explores the question of what it means to love a character. She argues that to love requires a commitment to feeling (living with the character) the struggle (the anger, pain, and shame) of what there could be to hate in the character and therefore ourselves. She argues that such a commitment begins necessarily when the character is (when we are) brave enough to declare herself and have her say. [ABSTRACT FROM AUTHOR]

Wetlands are catchment life support systems with diverse ecological and socio-economic functions. They have played a significant role in the growth of African human civilisations and cultural development, and today contribute billions of US dollars' worth of ecosystem services to the people of Ethiopia. Ethiopia exhibits both natural and man-made wetland types that cover up to 2% of its land surface. They are, however, under threat from excessive pressures that are both ecologically and socially driven. The objective of this study was to analyse the state of ecosystem services provision of the Ethiopian wetlands, with a novel application of Ostrom's Socio-ecological Systems Framework (SESF), taking Boyo Wetland as a case study. Household surveys, focus group discussions and stakeholder analysis methods were applied to satisfy the data needs of SESF. Insufficient knowledge of actors on wetland ecosystem services, weak governance and limited self-organisation among actors are highlighted as the major reasons contributing to the unsustainable use of wetlands. When the use of Boyo Wetland's ecosystem services was evaluated using the SESF, it was evident that unsustainable resource use practices are widespread. These findings could be used to inform national policy on wetlands and local strategies for the sustainable use of wetland resources by direct or indirect users at different levels. [ABSTRACT FROM AUTHOR]

The Aim of this Article is to propose an innovative system that combines augmented reality technology with actor training methodologies to enhance actors' skills, emotional depth, and adaptability. By integrating immersive experiences, real-time feedback, and interactive simulations, this approach aims to revolutionize the field of actor education in the evolving landscape of performing arts. AR technology can transform actor education by providing immersive experiences, immediate feedback, and interactive simulations. Augmented reality (AR) technology superimposes virtual information onto the physical environment, creating a dynamic and immersive experience. It enables prompt assessment of performance, augmenting capabilities and tactics. Augmented reality (AR) interactive simulations can improve actor training by fully engaging performers in intricate situations, promoting flexibility and profound emotional expression. The conventional techniques employed in actor training are constrained by various factors, including the absence of fully immersive experiences, constraints on time and financial resources, and the absence of prompt feedback. Integrating augmented reality (AR) and virtual reality (VR) technologies into actor training enhances the training experience by introducing greater dynamism and variety, enhancing overall performance. This novel method of actor education provides fresh prospects for enhancing skills and performance.

In the history of Iraqi theater, popular heritage has always been a rich and abundant source of inspiration for artists. Heritage is considered an integral part of the cultural and social identity of the Iraqi people, as it carries within it values, traditions, and stories that constitute a large part of the collective consciousness. In this research, we will discuss how to employ popular heritage in the Iraqi theatrical actor’s performance of the play “The Thread and the Bird” as a model, as the actor aims to revive the heritage and present it in a way that is consistent with modern times, which helps to enhance cultural identity and connection to the roots, as popular heritage was used in the play The thread and the bird are touched in many ways, such as language, fashion, music, and dances. And motor performance. Through the above, the researcher will attempt to study this research in four chapters. The first chapter represents the methodological framework of the research problem around the following question: Was the Iraqi actor able to employ the popular heritage according to his motor and vocal tools in presenting the play The Thread and the Bird? Then the importance of the research and its goal through revealing and identifying the most important skills. The performance techniques that are compatible with the characters carrying the popular heritage in presenting the play The Thread and the Sparrow 0, then the limits of the research and definition of terminology. The second chapter, the theoretical framework, includes two sections: the first: the popular heritage (a historical view). The second section: the popular heritage and the performance of the theatrical actor, then what resulted from the theoretical framework. Of indicators, the third chapter includes procedures that include the research community, its sample, the research site, and sample analysis, then the fourth chapter includes results, conclusions, recommendations, and proposals, and the research concludes with sources Keywords: employment, popular heritage, actor’s performance.

AbstractThe purpose of this study is to investigate the impact of sources, actors, and frames on development issues in Ethiopia’s faith media. The quantitative method compares the contents of two Ethiopian religious magazines to this end (Hamer and Hintset). SPSS software was used for data analysis, and both descriptive and inferential statistical techniques were used for data presentation. The findings revealed that social development stories were the most frequently found in both magazines. Furthermore, binary logistic regression analysis revealed that story actors and frame types influenced the selection of economic, historical, and moral development stories. The selection of cultural development stories in Hamer magazine, on the other hand, was influenced solely by frame types. The choice of economic, historical, and moral development frames in Hintset magazine was influenced by frame types. Peace development stories in both magazines were influenced by story actors and frame types, and frame types influenced the choice of social development stories in both magazines (Wald = 86, df = 10, p = .000) and (Wald = 57.6, df = 10, p = .000) in Hamer and Hintset magazines consecutively. Finally, the sources, story actors, and frame types of both magazines had no influence on natural resource and political development stories.

The purpose of the article is to examine the difference between the professional concepts of "role-character" and "role-hero" and to apply two corresponding models of role work in the production of a student play with actors who are students of higher specialised education. The research methodology is based on the use of general theoretical and special approaches and scientific methods; a systematic approach to focus on a holistic vision of the components of acting skills when working on a play; comparative analysis to compare the concepts of "role-character" and "role-hero". The methods of analysis, synthesis and abstraction were used to identify the similarities and differences between the concepts of "rolecharacter" and "role-hero" and their features. The method of theoretical generalisation was used to summarise the results of the study. The scientific novelty lies in the comparison of the professional concepts of "role-character" and "rolehero", which is used for the first time in the study of the problems of creating a stage image, and their author's definitions are given. This study is used to build a methodology for the educational process during the creation of a student performance. In the context of the study of professional concepts, the article analyses the creative and theoretical achievements of domestic and foreign directors and acting teachers. Conclusions. The author examines the keys to and obstacles to skilful acting by student actors related to the problems of working on a role on the example of a student theatre production based on V. Nestayko's novel "Toreadors from Vasiukivka". The author's models of decisions on creative, practical and theoretical issues in the process of educating future stage artists in higher theatre institutions are proposed. The author's definitions of the concepts of "role-character" and "role-hero" are proposed. Suggestions for teaching and directing work with student actors when working on a performance in an educational theatre are formulated. The study revealed the superiority of the method of working on the role as a "role-hero", and therefore, this method was the basis for the theatrical production of the student play. [ABSTRACT FROM AUTHOR]

Efforts towards rice self-sufficiency are crucial to reduce dependency on other countries for food, yet this poses a significant challenge. The need for land for development leads to a reduction in agricultural land. Policies to protect existing rice fields and increase rice production are highly strategic in the food system, as creating new agricultural land faces various constraints. Research findings indicate that the Regent Regulation on Spatial Planning of Banyumas District 2011-2031 is not fully capable of preventing the conversion of rice fields. This conversion of rice fields leads to a further decline in domestic rice supply, and rice self-sufficiency in Banyumas District is estimated to only last until 2029. Continuity in the implementation among key variables is the key to achieving the system's goals, namely: 1) the establishment of Regent Regulation on Agricultural Land Use Planning (LP2B), 2) the establishment of incentive schemes for land protection, 3) building a detailed spatial database of rice fields, and 4) developing irrigation water access as a variable that must be prioritized in the initial stage, followed by empowering priority farmer groups in the next stage, and increasing rice crop productivity as the subsequent resilience measure. Key actors driving the system include the Regent along with relevant agencies (Department of Agriculture and Food Security, Regional Development Planning Agency, Department of Public Works in the Irrigation Sector, Department of Housing and Settlement Areas), Regional People's Representative Assembly (DPRD), and the National Land Agency (ATR/BPN). [ABSTRACT FROM AUTHOR]

This article is devoted to the provocative proposal of a plausible relationship between Grotowski’s last season (above all his idea of the Performer) and a certain tradition of the Italian actor’s theatre. We understand this relationship and this provocation essentially in terms of micro-theatricality and intra-theatricality. By intra-theatricality we mean that method of composition which is inscribed in the tranches de vie of layered, multi-generational actors, in their ability to reuse existential sequences and to reproduce on stage the complex relational routine that the company represents as a community. Apart from the fact that the distance between the twentieth-century Performer and the traditional Italian actor has often been emphasized, there is something in the traditional profile of the Italian actor that, in the mid-twentieth century, paradoxically coincides with the mission that Grotowski assigns to the Performer. The purpose of this article is to explore these analogies.

Russian actor, director, and educator Michael Chekhov is renowned for his significant contributions to the art of acting. The system he developed promotes a creative, expressive, and internal approach to acting, assisting actors in creating authentic and memorable characters. Photo credit: Antonella Cornici (images are from the workshop led by Natalie Yalon on the topic of the Michael Chekhov System in Nancy, France, Erasmus program, November 2022). [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

The purpose of the paper lies in exploring the effective methods for formation of acting skills in online education and their impact on acting skills' quality. The main emphasis of the paper is on analysis of virtual pedagogical approaches, on the use of technologies and innovations in training of actors, as well as the on study of independent strategies for selfeducation and the interaction between the parties to educational process. The methodology the research involves the use of methods aimed at analysing virtual pedagogical approaches, developing technology and innovation in training of actors, evaluating effectiveness through experimentation and statistical analysis adapted depending on specific features and scope of this research. An interdisciplinary approach was employed to the fullest extent, thanks to which such disciplines as pedagogics, psychology, and aesthetics were involved. The said methodological approach makes it possible to deeply investigate the structure of the topic. The culturological approach was used to analyse the topic in a culturalhistorical context and, together with the functional approach, it determines the scientific weight of the issues outlined in the paper. This is crucial for describing their actual functioning in the culture and in historical perspective. For this reason, analysed were existing research papers on formation of acting skills in online education, reviewed were pedagogical and psychological aspects in mastering of acting skills in online environment and determined were the key methods employed for formation of skills in a distance form. Evaluation of effectiveness of various online pedagogical strategies in formation of actor's professional skills is based on own experience and on experience of colleagues. The scientific novelty of the paper consists in the identification of an innovative approach to understanding and improving the process of actors' training in conditions of online education, taking into account the new challenges and opportunities offered by contemporary educational process. Conclusions. Online education in the sphere of stage craft can become an effective tool for formation of professional skills. With the use of up-to-date technologies, actors can not only develop their own talents, but also adapt them to requirements of the contemporary world, in which virtual space becomes an essential component of success in stage craft. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander 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.)

Copyright of Savoirs En Prisme is the property of Universitaires de Reims 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.)

Copyright of Revue d'Économie Régionale & urbaine is the property of Librairie Armand Colin 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.)

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Introduction. The article describes the interpersonal relationships of various states of society of the «post-Shakespearean» era in the artistic work of the outstanding English playwright and actor Benjamin Johnson. Relying on sources and scientific literature, the author of the article tries to recreate the layer of everyday life in London at the turn of the 16th and 17th centuries, to reveal the problem of the «survival» of actors in the first stationary theater «Globus», their attempts to communicate with aristocrats, the attitude towards famous actors and directors in the English late Middle Ages society The central problem of the research is also the relationship between V. Shaksrip and A. Ferabosko, whose acting troupes shared the «stage» of the «Globus» theater. All these questions are most vividly revealed in Benjamin Johnson’s tragedy «Thrice Crossing the Thames», which was published after his death at the author’s request. The image of English society revealed through the thoughts and worldview of his contemporary is simply amazing. In the author’s opinion, it is also valuable that Benjamin Johnson personally knew V. Shakespeare and A. Ferabosko, the unforgettable young actress Catherine Loster. Research methodology. The content-comparative method, the method of modification of concepts and terms, generalizing and problem-searching methods to reproduce the realities of the era were used to write the article. Conclusion. we see that the place of man and the concept of «humanity» in the English dramaturgy of the «post-Shakespearean» era have changed significantly. In English art, more and more realistic «notes» are felt. Instead of “elevated” and “low” on the pages of books, «street life», «urban slums», relations between new states of society, new social morality come to the English stage. In order to fully feel the depth of these changes, it is worth discovering the realistic human images reproduced by contemporaries of the «post-Neckspearian» era, understanding the criteria of their morality and humanity from the point of view of the author of the dramatic work, who wrote at the crossroads of two great eras. [ABSTRACT FROM AUTHOR]

Performance arts provide an ontological framework that enables memory to be performed in ways that make private memory public. 'Public' here refers to the spatial component where groups meet and share memory. Theatre, a component of performance arts, is a cultural practice carried out in public arenas. Heisnam Kanhailal's theatre, popularly known as the "Theatre of the Earth," rooted in a culture empowered by the earth questions the edifice of Indian dramaturgy and revolutionises performance through the enactment of suffering on stage. The actor in his theatre becomes an embodiment of 'organic memory,' the medium through which ancestral teachings of a community and sensory knowledge of being find an outlet. The focus on the actor's body rather than the conventional emphasis on the psyche suggests that acting is sustained and relayed as an active force. This paper aims to understand how the physical body in Kanhailal's theatre transforms into a collation of communal memory which creates a space for communication between the deliverer (actor) and the receiver (spectator). By studying the body dynamics shown in his plays, Pebet, Memoirs of Africa, Dakghar and Draupadi, the assessment traces the affective as well as discursive modes of sustaining identity codified in the ecology of the community. Therefore, by making theatre evocative of their history of powerlessness and the bodies of actors representative of these sensitivities, theatre rooted in the community's ecology creates sites of remembrance, the mental loci of which could be imaginatively accessed and explored. [ABSTRACT FROM AUTHOR]

Many studies have shown that women's potential is overlooked, but few studies have focused on the perspective of women themselves. From the perspective of women, this study explored judgments regarding the potential of women from the perspective of both evaluators (at personnel hiring position) and actors (at applicant position). The results showed that: (a) from both the evaluators' perspective and the actors' perspective, women show potential judgment biases; (b) from the evaluators' perspective, women were more dependent on gender stereotypes to make job allocation suggestions to their peers, and endorsement of gender stereotypes played a moderating effect in such process; (c) from the actors' perspective, women were more dependent on the intention of self-improvement to make their own job choice, and temporal focus, rather than endorsement of gender stereotypes, moderated the above relationship. Women seemed to evaluate themselves and other women based on different principles regarding judgments of potential, overlooking potential effect and self-potential realization. This study provided new evidence from the perspective of both evaluators and actors and a new explanation regarding how female participants balanced these different principles. Moreover, it provided important practical insight into personnel decision-making which is potentially helpful in eliminating the neglect of women's potential. [ABSTRACT FROM AUTHOR]

There is extensive literature on the agency of actors in urban and regional planning which draws on a wide range of theoretical lenses and concepts. One of the recurring themes is the relationship between agency and structure—the mutual interdependence between individual actions and collective institutions, rules, and norms. This article provides a narrative overview of the wide range of literature on agency and structure in relation to spatial planning clustered around six interrelated themes: institutions, discretion, pragmatism, networks, leadership, and emotions. It identifies new avenues for research, paying particular attention to empirical, scalar, and methodological issues. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Copyright of Publishing Journal is the property of Wuhan University, School of Information Science 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.)

The purpose of the article is to analyse the role and place of cinema in the formation and strengthening of modern Ukrainian identity; to study the main trends observed in the development of contemporary Ukrainian cinema in the direction of state-building and geopolitical processes, in particular in the context of the war that Russia unleashed against Ukraine in 2022; to examine the shortcomings that negatively affect the quality and perception of Ukrainian cinema in Ukraine and the world. Research methodology. To achieve the set goals and solve the tasks, the researchers used such diverse approaches and methods as analysis (to study contemporary popular films) and synthesis (to identify trends in the development of Ukrainian cinema), historical method (to clarify the historical realities of Ukraine’s development), literary analysis (to study literary sources that highlight identity in cinema). Scientific novelty. For the first time, contemporary Ukrainian cinema is analysed in terms of trends in the formation of national identity through feature films. The main components of Ukrainian national identity are identified: awareness of cultural heritage, understanding of one’s role in the collective identity, and active consumption of cultural and information space, including cinema. The role and place of cinema in the formation and strengthening of modern Ukrainian identity are analysed. Conclusions. It is determined that the formation of Ukrainian national identity is conditioned by history, language, culture, religion, territory, traditions, politics and education. The article has analysed the Ukrainian cinema space and found that there is a tendency to rethink classical works and appeal to Ukrainian culture as a means of forming national identity, as well as to cover the topic of war and heroic events in the history of Ukraine, which contributes to the self-identification of Ukrainians as courageous fighters for freedom and independence. The study also has identified shortcomings, such as the use of “trouser culture”, acting unprofessionalism and instability of cinematic development, which negatively affect the quality and perception of Ukrainian cinema.

Nowadays, there is an increasing need to rapidly build more realistic models to solve environmental problems in an interdisciplinary context. In particular, agent-based and spatial modeling have proven to be useful for understanding land use and land cover change processes. Both approaches include simulation platforms often used in several research domains to develop models explaining and analyzing complex phenomena. Domain experts generally use an ad hoc approach for model development, which relies on a code-and-fix life cycle, going from a prototype model through progressive refinement. This adaptive approach does not capture systematically actors’ knowledge and their interactions with the environment. The development and maintenance of resulting models become cumbersome and time-consuming. In this article, we propose an actor and architecture-driven approach that relies on relevant existing methods and satisfies the needs of spatially explicit agent-based modeling and implementation. We have designed an Agent Global Experiment framework incorporating a meta-model built from actor, agent architecture, and spatial concepts to produce an initial model from specifications provided by domain experts and system analysts. An engine is built as a tool to support model transformation. Domain knowledge including spatial specifications is summarized in a class diagram which is later transformed into the agent-based model. Finally, the XML file representing the model produced is used as input in the transformation process leading to code. This approach is illustrated on a hunting and population dynamic model to generate a running code for GAMA, an agent-based and spatially explicit simulation platform.

This research aims to describe the process of actor education, which includes materials, methods, and indicators of learning outcomes in the Celah-Celah Langit community as an effort to continuity theater arts education in Bandung. This research method used a descriptive method with a qualitative approach, where the data collection techniques include observation, interviews, and documentation. The data analysis technique of this research used interpretative analysis. The results of this study indicated that art education in the community had a curriculum structure designed based on the community owner, namely (1) Actorial learning material obtained from the historical experience of the Community founder, (2) lecture learning methods used in teaching, with a game model for learning material (3) indicators of learning achievement as an actor who lives the character and increases maturity.

The article proves that semantics in social research is a category subject only to contextual and situational analysis and further contextual filling with meaning through actors’ situational communication. The article considers the category ‘system of actor’s individual paradigms’, which is presented here as an attribute of social communications. Using this category (taking into account current expectations of the actor, current preferences of the for all actors, as well as actors’ current anticipated intentions for each actor involved in communication), we examined the mechanisms of preparing two actors for the future communication. The assumptions made in the article as for limitations of the behavioral freedom of actors, preparing for communication, allow us to focus on proving the relevance of the hypothesis that the system of individual paradigms of the actor is a tool with which actor contextually and situationally cognizes the world and reflexively interacts with it. We reveal that in the conditions of interdisciplinary research, when ontological and methodological ‘norms’ of a particular scientific discipline are not constructive enough, which, in turn, leads to mixing and distortion of the methodology and ontology of various scientific disciplines, the choice of abduction as a methodological research tool seems quite justified. The results of the research, conducted in the article by means of abduction (as a methodological research tool) confirm the relevance and validity of the hypotheses put forward in the article. The results of the research conducted in the article specify the situational-contextual mechanisms that are used in preparation for communication between two actors with the aid of a system of each actor’s individual paradigms, and taking into account actors’ current expectations, actors’ current preferences, as well as the current anticipated intentions of each actor. We also confirm the importance of mandatory use of the adjective ‘current’ for the correctness of the study of actors’ communications, since it really concretizes the actual semantics of the paradigms used by actors (in preparation for communication) for their relevant consideration in the research conducted in the article.

The speech genre of curse analyzed in the article belongs to the most ancient genres of oral communication in Kazakh culture. It is based on belief in the magical function of the word, in the ability to bring harm and evil to the cursed with the help of magical powers. Kargys is a pattern, its stable verbal formulas are preserved in the linguistic consciousness of the modern native speakers, despite the fact that the archaic foundations of the pattern may not be fully understood by them. The aim of the article is to analyze the aspects of the propositional structure of the genre of curse in the Kazakh language, to typologize the nature of harm and evil inflicted on the addressee, to identify some cultural, linguistic and pragmatic features of the speech genre. For example, for the feasibility and strength of the influence of the kargys, the status of the one who curses and the one who is cursed is important – the age, the family, the social status. The objectification of the verbal predicate in the kargys is significant and fundamental, even the contracted forms preserve it. The actants in the structure of the proposition of curse are optional; their elimination is carried out on various semantic and pragmatic grounds. The Kazakh language provides formulas for counteracting the destructive genre of curse, including the formula for depriving the force of the curse and the formula for returning it to the one who curses.

En este artículo se analizará el concepto de mímesis, término de gran relevancia en la antigua Grecia, especialmente en el arte y que fue objeto de reflexión por parte de destacados filósofos griegos, uno de ellos fue Platón, quien ofreció una interpretación profunda y provocadora sobre la mímesis en su obra filosófica. En este análisis se mostrará que se trata de un término que se adapta a distintos contextos, lo que permite que se aplique de modos diversos. Tales aplicaciones posibilitan ver que no se debe interpretar de un modo exclusivo, por ejemplo, al arte, porque sería reducir innecesariamente el significado del término. Para mostrar lo planteado, el artículo se divide en tres acápites: inicialmente se hará un análisis de la mímesis en el pensamiento pre-socrático, luego, se examinará el término en el libro II y III de La República, y, por último, se analizará y mostrará la evoluciòn del término en La Repùblica del filósofo ateniense y el porqué Platòn considera, en el libro X, que la poesía mimética carece de valor de conocimiento.

This article explores the concept of professional identity within organizations from a sociological perspective. It discusses the historical background and theoretical uncertainties surrounding this concept and aims to provide a theoretical foundation for field research on organizational professional identities. The article emphasizes the significance of the relationship between individuals and organizations in shaping self-perception and cognitive and emotional understanding. It also examines different perspectives on professional identity, including the cognitive mechanism of occupational identity and the sociological theories of Sainsaulieu and Claude Dubar. Overall, this article offers valuable insights into the complex nature of professional identity and its importance in the workplace.The document focuses on the topic of ego identity and its development in various aspects of life, such as occupation, ideology, and family. The author explores the work of Erikson, who distinguished between common identity and identity in specific spheres. However, there are differing interpretations of Erikson's writings on identity, with some researchers suggesting that there are more than three domains of life relevant to identity development. The document also introduces Marcia's Identity Modes model, which conceptualizes identity development based on crisis and commitment. The model identifies different identity states, including realized identity, endowment, established identity, and diffused identity. The development of identity is seen as a continuous process, with individuals progressing from less developed forms to more developed forms. The document also highlights the influence of organizational culture on shaping professional identity. Overall, this document provides valuable insights into the complex nature of identity formation and its relationship to various factors, such as [Extracted from the article]

This article aims to investigate what the current literature says about the mental health of the actor and how the concepts of success and failure imply on it. For this, a systematic bibliographic review was carried out, based on productions indexed in the Scielo, Pepsic, Periódicos Capes and Biblioteca Virtual em Saúde (BVS) databases, published in the last ten years. The descriptors used were "actor"; "actress", "health", "mental health", "failure", "success", "theater", "affection" and "experience", in the following combinations: "(actor OR actress) AND (success OR failure OR health OR mental health OR affection)", "theater AND (affection OR mental health)", "(actor OR actress) AND theater AND (health OR affection OR experience)". The productions were selected from three stages: 1) analysis of titles; 2) analysis of abstracts; 3) full analysis of the production. From the analysis of the productions, it was observed that the productions, for the most part, demarcate the importance of theater and art as a care tool; however, there are no productions that emphasize the care directed to the actor, about his affections, about his mental health, whether in the scope related to the concepts of success and failure, as it was emphatically considered in the work, or in any other. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of theatrical interactivity as a model of communication in modern culture and to consider interactive theatre as a means of social transformation. Research methodology. The terminological method, the typological method, the method of functional analysis, the method of synthesis, as well as the method of systematisation and generalisation are applied (for consideration and scientific substantiation of the concept of theatrical interactivity, identification of the characteristic features of interactive theatre as a phenomenon of modern cultural space). Scientific novelty. Theatrical interactivity as a model of communication in modern culture has been studied; analysed models of interactivity by M. L. Ryan, McIver Lopez, S. Dixon and others in the context of the interaction between the participant and the production; the theatre methodology of A. Boal "Theatre of the Oppressed" is considered (the audience is an active participant in the performance). Based on the analysis of modern European productions of interactive theatre, the main criteria of the approach to their creation are identified. Conclusions. Interactive theatre is a form of theatrical action that involves the active participation of the viewer, who ceases to be just a spectator, turning into a full participant in the joint creative process. Theatrical interactivity involves taking the viewer out of the comfort zone, from the position of an "observer" and bringing them into the sphere of live communication and perception. At the same time, this is not always synonymous with empowerment or satisfaction, and the desire to give the viewer some freedom is in some cases restrained by manipulative performances. As an alternative communication space, a place where people listen to each other, express their own thoughts - interactive theatre is a means of social transformation. They establish direct contact with their audience, who not only perceives and evaluates the productions, but thanks to the live dialogue becomes a partner in the stage action. Theatrical interactivity involves the observance of the following criteria: thinking outside the place of the performance, substantiating the relationship between the audience and the actors, moving away from the demonstration of the audience, maximum simplification and consistency. Individual practices of interactive theatre allow participants to distance themselves from social roles and bring their own values to this experience. [ABSTRACT FROM AUTHOR]

Copyright of Quality of Life (1018-0389) / Calitatea Vietii is the property of Romanian Academy Publishing House / Editura Academiei Romane 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.)

Copyright of Cuestiones Políticas is the property of Revista Cuestiones Politicas 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.)

In France, patients' right to take part in decisions regarding their health has been recognized by law since 2002. This legal recognition was the outcome of a long-standing call to allow all individuals to be "actors in their own health" and to co-develop their care pathway with the professionals involved. In practice, care pathways simultaneously intertwine both standardization and personalization dynamics, which involve different forms of professional-patient interaction. This article analyses the links between the organizational variables of care pathways, and the ways in which patients are involved in the management of their own pathway. To date, these links have received little attention in the management science and health literatures. We draw on material from a case study carried out in 2 French territories, combining the analysis of patient pathways with interviews conducted with professionals and carers. Building on this analysis, we propose a typology of patient profiles which distinguishes between their different forms of involvement in the development of their care pathway, based on its organizational characteristics. [ABSTRACT FROM AUTHOR]

The main inspiration of my essay How the cinematographer can help the actor – an insider’s perspective on Joker is Lawrence Sher’s masterclass that took place on 1st December 2020 via Zoom. It was a masterclass for students of the Polish National Film School in Lodz and I had great honor to lead this workshop. In this article, I try to analyze how a cinematographer can help actor to make a great performance. My essay is a “case study” because I focus how cinematographic means create a story and serve the actor who likes to improvise. [ABSTRACT FROM AUTHOR]