OPTIMIZATION OPPORTUNITY OF THE MANAGERIAL STYLE FOR A TEACHER-MANAGER WITH DUE REGARD TO THE FUNCTIONAL BRAIN ASYMMETRYSarsembayeva E.Yu.
The author considers the opportunity of management activities optimization, which has been the subject of numerous scientific studies during a long period time. Today this area is still of the utmost importance. The structure of management activities is complex and it is built on multilevel psychological, socio-psychological and other phenomena. This article presents the data of modern studies aimed to support its distinctive features in perception, information processing, cognitive, emotional-volitional sphere of the right- and leftlateral respondents. This article is devoted to the study of individual styles of management activities of the executive educational team (school principals, head teachers). The study (n=140) proves that an individual management style is predefined by the peculiarities of lateralization of prefrontal lobes hemispheres of the brain. The significant differences are defined between individual management style of school principals and head teachers with different lateral organization of the brain. The study uses psychological tests (n=6) and statistical methods of data processing. It is proved that superintendents with left lateral and right lateral organization of the brain use different management tools. For example, in the activities of the left hemisphere superintendents stronger organizational skills are expressed, the authoritarian management style is used more often and motivation for success is expressed greater than motivation to avoid failures. The right hemisphere superintendents express stronger communication skills at a lower intensity of managerial skills, the democratic style of management is used more frequently, this type of individuals often focuses on avoiding failure than on achieving success. The main methodological principle laid down in the program of the study is the system approach. This study is in the "mainstream" of theories of individual differences that are explained by the features of braking force of regulatory unit in expression of the general properties of the CNS. This article contains recommendations that provide an opportunity to optimize managerial activities of individuals engaged in educational supervision. These recommendations are aimed at expansion of the components of management style.
The article deals with the problems of the essence of consciousness manipulation in the process of self-preservation of a social group by holding holidays. One of the most complex and unambiguously interpreted scientific problems at the present time is the problem of determining the place and various functions of the sacral in the everyday life of society. Of course, the traditional understanding of a holiday as a ritual action that transcends the transcendental nature of being has been preserved to some extent to this day, however, with the development of different social arrangements in the context of life, not only collective, but also individual, has somewhat changed its character. Strictly speaking, the development of philosophical thought with respect to this problem was extremely diverse, but at the same time it had certain homogeneity, manifested in the traditional understanding of a particular area of this aspect. The original understanding of the holiday as sacralization of being, which really exists here and now, was extremely important in the development of the history of the existence of an individual and his relationship with the objectively surrounding world. Of course, the birth of manipulation should not be directly proportional to the existential aspect of life as such. On the contrary, life, according to its dual nature, can not but perform various kinds of manipulation to determine the essence of its existence. The concept of dualism of being has acquired completely different features with the development of a philosophical view of the problems of this kind in the process of historical and philosophical consideration. The initial perception of this phenomenon was absolutely authentic, for it found responses in the determination of the One as the Absolute in its individual kind through the disintegration into plurality, revealing certain regularities in terms of transcendental being. Manipulation of consciousness in the process of research actually appears as a kind of technology of domination of the sacral over everyday life. Holiday as a ritual allows us to manifest the essence of sacralization, determining the place of man in the process of his own being through manipulative character in the context of interaction with the objective world.
THE ORIGINS OF PERSIANA IN RUSSIAN MUSIC: ONCE AGAIN ABOUT THE PERSIAN CHORUS FROM OPERA "RUSLAN AND LYUDMILA"Drozhzhina M.N.
This article presents an attempt of retrospective excursus done through analyzing the causality between events and artifacts concentrated around the known fact – i.e. using the authentic Eastern (Oriental) melody in the Persian chorus from "Ruslan and Lyudmila" opera by M.I. Glinka. Their blending in a single chain contributed to identifying and comprehending the circumstances and historical-cultural context that predefined emergence of domestic musical Persiana - the phenomenon almost unexplored hitherto. Diaries analysis of the composer's contemporaries, as well as that of memoirs literature, revealed that "interest group" of M. I. Glinka included both Russians who were visiting Iran (Ambassador A. S. Griboyedov; traveler and the author of "Journey to Persia" treatise, prince A. Saltykov etc.) and direct representatives of Persian culture. Among them was the university professor M. J. Topchibashev (who formerly taught him the Persian language) and participants of the Apology mission of the crown prince Hosrov-Mirza sent by the Iranian Shah in connection with murder of the Russian ambassador Alexander Griboyedov. Archival documents showed that the mission included such highly educated people as the poet Fahil-khan Sheida who later adopted Russian citizenship, and Mustafa Afshar - a connoisseur of Russian culture, fluent in the language. Study of documents and researches dedicated to this mission enabled to assume the name of the prince’s secretary who initiated M. I. Glinka in the chorus’s melody and, accordingly, in the national origin of this tune. However, it requires confirmation with the aid of further research. As a result, on different levels – the personal one (the composer’s success in studying Persian language, communication with its native speakers and connoisseurs of culture), the social one (conditioned by mutual relations of Russia and Persia/Iran), the advantage of the "Persian version" (marching melody) is cleared out in defining the original source, along with identity of the person who has sung this melody to the composer. The article shows that additional argument in favor of this march version might be the relatively similar marching theme in "Persian March" by Johann Strauss. A great many details drawn from non-musicological sources made it possible to grasp the idea of "Persian context" presence in Glinka’s life, thus aiding to form interest to the Persian culture. Thus, the "Persian chorus" can be described as a reference point in establishing the domestic musical Persiana– the phenomenon having in its basis the respective socio-cultural context augmented by competence of its initiator.
In the article the author makes an attempt to close one of the "white spots" in the history of Novosibirsk Opera Theatre. Materials gathered for this purpose were the documents from the archives of the Novosibirsk Region and the Novosibirsk Theatre of Opera and Ballet. Using rare publications, memoirs of the People's Artist of Russia Zinaida Didenko as well as personal memoirs the author managed to recreate several scenes from the life of the outstanding figure of musical culture of the XX century, Honored Artist of Russia, laureate of the Stalin Prize, Chief Director of NSATOB Margaret Ozhigova. The years of her studies at the Petrograd Conservatory are associated with the names of A. Glazunov, D. Shostakovich, G. Rimsky-Korsakov, N. Malakhovski, I. Musin, N. Amosova and the forgotten history of the Society of quarter-tone music. After graduating from the Conservatory in three specialties as a harpist, a composer and a director of a musical theatre M. P. Ozhigova (from 1941 to 1945) served as a soldier of the Red Army during the Leningrad blockade. She introduced Stanislavsky principles into the system of work with the actors being a director at the Opera theatres of Saratov, Novosibirsk, Ivanovo. The same principles of work according to the Stanislavsky system she applied working with young singers of the Opera Studios at the music universities of Kazan, Gorky and Rostov-on-Don. The article presents documentary evidence of obstruction towards M. P. Ozhigova, which she experienced at that time at the Novosibirsk Opera Theatre and which forced her to leave the theatre.
The author considers creative work of Vladimir Magar, who was a director of the Sevastopol theatre named after A. V. Lunacharsky for fifteen years, and this creative work hasn't been studied yet and the study is continued in the series of publications about him. The study of his manner of directing may be indicative for identifying the patterns specific to regional theatrical life and may restore some pages of the history of Russian theatre, which have been out of the scope of research so far. The activities of the director can be divided into several periods – from light comedies to romantic works involving basic questions of human existence. His performances have always been characterized by complex and multi-literary foundation. The article examines such performances as “Empire of the Sun and the Moon”, “Talants and Admirers”, “Don Giovanni”, “Othello”, “The Cabal of Hypocrites”. They are based on substantial principles of Magar's directing such as multi-piece basis, montage construction, complexity, transmission of the main lyrical expressions of the director. The role of scenographic solutions, plastic, music and other components of dramatic action are also examined in the article. The article is based on using of the comparative-historical method, personal audience experience of the author, analysis of different literary sources, revised by the director, and reviews which are not numerous. The principles of creation which are studied in the paper testify about the successful application by the director V. Magar of a great variety of expressive means of modern theatre and lead to the development of theatre art in the Russian province.
The article considers social and socio-psychological prerequisites of Eurasianism coming on the stage. Eurasianism emerged in the early twenties of the last century as an ideology and a political movement. But its social origin dates back to the earlier period. Eurasianism is a consequence of the world war and the revolutionary situation. The active participation of Caucasian and Asian peoples of the Russian Empire as well as some features of the revolutionary everyday routine formed a part of the Russian intelligentsia`s perception of the revolution as the Eurasian matter. This was facilitated by the complex nature of the Russian identity which comprised two hearts of the Russian peoples – European and Asian. The specificity of the Eurasian perception of the revolution was the reassessment of the European and Asian components of the Russian identity. In the Russian public consciousness of the nineteenth century the Asian component was perceived negatively, but the European one - positively. A group of writers and poets, who in 1917 and 1918 called themselves “The Scythians”, under the influence of Nietzsche and Vladimir Solovyev and under the influence of tragic experience of the First World War, re-evaluated the two components of the Russian identity. The result of this re-evaluation was the birth of a Eurasian myth as an artistic reflection of the experience of the world war and the revolution. This myth was used as the basis for the creation of Eurasian ideology by a group of Russian emigrant scholars.
The article is devoted to the problem of development of a new project of reality that has overcome the post-nonclassical stage and faced difficulties in understanding human-like technoobjects in the present. The authors associate the emergence of "new structures" with transformation of human selfness, its practices of "disintegration", alienation from oneself. The beginning of this process launched by the medieval culture of thought, in which real, conceptual and nominal have appeared. They are recorded in the practices of discovering sinful within yourself; cashing out itself in contact with similar (other); revealing a formal (name). In the period of New European philosophy, a cognizer, tied to contemplation and will, begins to practice. He focuses on experience of reflection – a repeated inspection, control over the self, through which its "property" or aggressive withdrawal of irrational opportunities is established. The authors claim an idea that practice of a cognizer with ever-increasing estrangement from oneself generates a new reality in our time – the objects of kogito (virtual, conceptual, linguistic), objects that "complete" the embodiment (biotechnical structures). They are practitioners standing within the boundaries of will-kreacio, aimed at rational extension, transformation of cognizer. A purposeful will that has a rational intention, collects its own reality from the fragments or "traces" of the expressed, described, everyday, etc., constructs it from fragments of social action, text, experience. A methodology, built on the framework of mathematical and natural sciences, is gradually replaced by an activity-practical, hermeneutic, engineering-sociological approaches. Comprehension of science through spiritual experience of cognizer makes it possible to assess it not as something external, civilizationally fateful but as a conscious action, a choice, relying in a special fixation, self-examination.
This article analyzes a number of social and anthropological implications of the sharp increase in the flow of information, which have acquired since the mid-20th century the character of "information explosion". The authors analyze the postmodern concepts by identifying major characteristics of post-industrial society that brings these concepts together with the theories of the information society. The authors substantiate the hypothesis that, on the basis of the convergence of certain postmodern concepts with the theories of the information society there can be conceptual synthesis. The authors show that the informational approach, which is not used explicitly, is present in the works of post-modern artists as the concept of a special type of society, a society living and reproducing itself mostly in virtual reality based on mass production of sign-symbolic artifacts - signs, symbols, values and meanings, aggregated into streams of information. Information flows are the main "building material" and a resource for the construction of symbolic information and communicative space. The authors identified the following characteristics of the society after the "information explosion": there is a change in the content of communication; the symbolic world becomes increasingly unrecognizable for a human being; there is depersonalization of social codes; virtual strata appear; people experience information trauma of consciousness; human existence becomes fragmented; "information schizophrenia" sets in; "intellectual extinction" of mankind syndrome shows up; and then comes "normal anomie".
The article examines the role of a social ideal in history on the example of evolution of the perfect man image. The ideal is understood as a due thing, which allows to assess the present existing nature and to determine the direction of its development. Aspiration to the ideal, which is an essential intention of a person necessary in acquiring ideal traits of a man, is one of the driving forces of history. Every historical period constructs its own image of an ideal person and strives to get closer to it. Ideas about the perfect man have been regularly formed throughout history, this fact proves that there is a permanent innate human sense of dissatisfaction with him/herself (and with the whole world), the lack of self realization, the intention to discover their own inner identity. The first "perfect man" was a beast. In the primitive societies people conquered the “outer” beast, in Antiquity – the “inner” one. There appeared the first identity crisis as a consequence of inadequate self-esteem ("man as the measure of all things"). God was a "perfect man" of the Middle Ages. If a beast turns out to be in the inaccessible past then God is in the eternal unattainable future. So, the second identity crisis comes into existence. A Man becomes an ideal in Modern Times. There appeared a concept of a perfect man (as a real possibility). However, depriving a person of metaphysics leads to the third identity crisis. Nowadays the "perfect man", increasingly, appears to be a machine resembling a "man", devoid of human weaknesses with improved human qualities. The analogy between a human and a machine leads to the fourth identity crisis. "The new perfect man" is a man as a unique result of the development of all human culture, the synthesis of the unique and the universal.