Научный архив: статьи

The production of illuminated manuscripts in the royal library of Iran’s workshops began with comprehensive planning of the entire structure by the workshop head. This planning aimed to coordinate among calligraphers, painters, and illuminators to organize the manuscript and determine the illustrations’ placement and their integration with the main text. Beyond surviving works and general knowledge about art workshop organization in various dynasties’ Royal Libraries, limited information exists about this process and its implementation. This study employs Quantitative Codicology to analyze relationships between chapters, sections, couplets, and miniature positions to reveal the internal structure of The Shahnameh of Shah Tahmasp (Shahnameh Shahi), Iran’s national epic and a masterpiece of the royal Library of Safavid dynasty (Safavid Ketabkhaneh), during 16th century. The findings reveal the manuscript’s initial structural concept, designed by chief supervisor Sultan Muhammad, and the transformations that occurred when two subsequent supervisors took charge during its extended production period. His original rhythmic arrangement, which aimed to maintain miniature folios within specific couplet intervals, evolved into event-oriented and uniform distribution patterns under Mir Musavvir and Aqa Mirak’s respective supervision. These changes are examined through hypotheses considering both internal and external variables that can reveal the reasons behind the manuscript’s organization and its changes

The article deals with the detailed analysis of the instrumentation of the soprano aria “Laßt der Spötter Zungen schmähen” (no. 5), in which the first violin part standing out fragmentarily from the unison of the high-pitched strings accompanying the singer. The Cantata BWV 70, created by Bach during his Weimar period, was revived with a few alterations in Leipzig in 1723. The author covers the issue of the number of players in Bach’s orchestra during these periods and concludes that most likely each violin part was performed by three musicians and the viola part was performed by two musicians in Leipzig; while in Weimar the cast was much more limited and there was only one performer for each instrument. In the handwritten pieces of the first violin part of the soprano aria, the indicated dynamics coincide with the beginning and ending of pauses in the second violin and viola parts. The comparison of this peculiar feature of the notation with other manuscripts of Bach’s compositions, some improvisatory traits of the piano fragments, and the potential opportunity to create timbre contrast suggests that the dynamic markings forte — piano become an alternative to indications tutti — solo, and individual fragments of the aria, marked with piano, should be performed by a soloist. We do not know for certain, what was the exact sound of this music in 1723. However, at present, having much superior performing resources than Bach had in Leipzig, we can assign separate pieces to a soloist, regardless of the number of orchestra musicians. Thanks to this solution, music appears much more convincing and gains a certain splendor, that is supported by the rare examples of contemporary performing practice

While processes of loanword adaptation in Sakha (Yakut) have been well-studied, contemporary speakers tend to use the original Russian pronunciations, and little attention has been paid to the interaction of these unadapted loanwords with native morphology. This study investigates vowel harmony processes in spoken Sakha, with a focus on suffixation patterns in borrowed words. The data was obtained from interviews conducted with six native speakers of Sakha who completed an elicitation task and a Likert-scale task in which they were asked to produce and rate plural and possessive forms of native and borrowed words. In native and fully adapted loanwords, speakers consistently produced and rated most highly the expected suffix variants based on the stem-final vowel. For unadapted loanwords, there were also consistent patterns, but the preferred suffix was less likely to harmonize with the stem-final vowel. Several factors influenced the choice of suffix, including whether the word was harmonic; the height of the suffix vowel; and the written form. For non-native words, vowel harmony violations were more likely to involve front or round triggers, and the preferred suffixes were the back unrounded variants

We obtain a number of spectral and functional inequalities related to Schr ̈odinger operators defined on antisymmetric functions. Among them are Lieb — Thirring and CLR inequalities. Besides, we find new constants for the Sobolev and the Gagliardo — Nirenberg inequalities restricted to antisymmetric functions

The modern theory of development includes such concepts as entropy, dissipative and conservative structures, equilibrium systems, etc. But what is behind these concepts?

Are they not quite correct, which leads to a misunderstanding of the development process? How, on their basis, can a more general process diagram be constructed that would give a complete description of social dynamics?

Having non-linear equations share properties is useful, but when it comes to measurements and calculations, every non-linear system is a thing in itself. Comprehension of one of them gave absolutely nothing for penetration into the other. The Lorenz attractor revealed the stability and hidden structure of a system that, otherwise, seemed completely unstructured. But how could this double helix help specialists study objects that have nothing to do with it? No one knew.

The discoverers of new forms compromised the rigor of the scientific style. Ruelle wrote: “I have not mentioned the aesthetic impact of strange attractors. These tangles of curves and swarms of dots sometimes conjure up magnificent fireworks or mysterious galaxies, sometimes they resemble a bizarre riot of plants. Before us is a vast realm of undiscovered forms and unknown perfection.

At the turn of the 19th and 20th centuries, the scientific community was in a rosy mood - and not without reason: it seemed that a few more strokes, and the picture of the world would be built. By the end of the 19th century, classical science could rightfully be proud of its achievements. Since the time of Newton, the world, which the ancients divided into the sublunar and supralunar spheres, has become a single. Uniform cognizable (and, as the representatives of natural science and philosophical circles believed, largely cognized) laws acted in it.

The role of bifurcation or structural-phase transitions in the evolution of complex systems is analyzed using a phenomenological algorithm and formalized concepts of adaptability and stability. It is shown that the algorithm makes it possible to estimate the degree of transition harmonicity and the stability of the new state. Knowledge of the features of the most critical zones of structural-phase transitions makes it possible to change the trajectory, pace and ultimate goal of the evolution of various dangerous natural processes by small energy impacts, preventing their development to extreme states. The knowledge of the functional significance of such “acupuncture” points of evolutionary processes makes it possible to control them with minimal energy costs for the purpose of preventive protection.

The polyfunctionality of complex evolving systems is analyzed. It is shown that not only living objects, but also various inert, bio-inert systems have numerous functions in the general natural organism. The functions of a dual nature systems - bioinert soil and biosocial man - turned out to be especially numerous. Such functions turned out to be the basic objects of study of the existing world system polyfunctionality.

Приводится описание нового межвидового гибрида Salix × jessenii O. V. Epanch. et I. V. Belyaeva. Этот гибрид культивируется в ботанических садах и частных коллекциях в Европе и России. Предложено возможное использование этой необычной декоративной ивы.

This article revises current perspectives on the generic status, composition, and subject matter of Phoenician Women by Seneca. It adopts a new approach, focusing on selected elements of text organisation. In particular, emphasis is given to the construction of characters and the analogies and contrasts between them which were already of interest to ancient poetics and rhetoric. Moreover, the article refers to observations, accurate but isolated and largely ignored, made by scholars who recognised Seneca’s originality and suggested that his plays might have been inspired by the declamatory tradition and should be read in the context of evolving postclassical literature. By adopting this perspective, it becomes possible to bring together a large number of partial conclusions that are related to Phoenician Women as well as other plays by Seneca. What is more important, the work brings to light the purposeful composition of the drama and its thematic unity, allowing us to return to the MS versions that until now have been replaced by conjectures, which often distort the meaning of the text. After dismissing the emendations and adopting a new method of reading, Seneca’s Phoenician Women can be regarded as complete and well-organised. The play has certain characteristic features of a tragedy, of all Seneca’s dramas, it is the one most inspired by the genre of declamation and the poetics of Seneca the Elder’s anthology, and it is an example of the use of plot material typical of tragedy for presenting the problem of pietas in all its complexity

This piece is a fresh take on the crux philologorum in Sappho fr. 96,8, an extended moon simile, where Aeolic σελάννα, a commonplace of Sapphic poetry, easily restituted ex coniectura by W. Schubart in his editio princeps of PBerol. 9722 in 1902, was ousted by an unmetrical, if poetic, μήνα. The author offers an overview of the past and most recent scholarly effort along with an attempt (albeit a speculative one) to approach the issue of the irrational ratio corruptelae from the part of the resonant adjective βροδοδάκτυλος, an altogether uncommon epithet of the moon, paying close attention to the fact that the intruding word is disyllabic. The dactylic feel of the weighty adjective βροδοδάκτυλος is deemed at some point to have prevailed in a scribe’s dictation interne to the result that ἠώς could have landed in the text proper, or could have found its way there gradually from an intrusive marginal gloss left by a learned scribe unable to keep the Homeric clausula ῥοδοδάκτυλος ἠώς to himself. At some point another, no less learned scribe, attentive to the context of the simile, picked up μήνα, not σελήνη, as his remedy of choice, sticking to the number of syllables in the now resident ἠώς