The article deals with the questions of the dynamics of a text in comparison with the dynamics of a language. Nowadays, the understanding of the concept dynamics is not problematic in the linguistics, and it may refer to a broad, historically conducted research. The question is how to understand the dynamics of a text, i. e. if there is any uniting principle which can serve as a support. A more detailed analysis shows that the collocation the dynamics of a text represents three different conceptual understandings: it is the dynamics of a thematic and compositional construction, the particular communicational dynamics, and the historical or development dynamics of a text. Finding of this condition refuses a possibility of defining one universal understanding of this concept.
The dynamism inherent in today's business environment has to be extrapolated to the methods used for the scientific substantiation of the enterprise management system. This is due to the formation of an approach to the diagnosis of opportunities for steady development through the use of dynamic and static parameters by examining direction of original development basis transforming. As a result is defined five types of transformation directions: synchronous rising, synchronous falling, stagnation, inverse, asynchronous. Proved the importance of the structural changes of local component of survival and stability potential conditions. Proposed and justified a dynamic diagnostic model, which reflects the rate of change of potential states local components and allows us to calculate the coefficient of dynamic stability. According to this coefficient identified three areas of its belonging – positive dynamic stability zone, negative dynamic stability zone, flat-zone of dynamic stability. Developed a matrix of impulse characteristics, which, depending on the correlation of dynamic stability zone and transformation type allows to identify five types of impulses, which are generated based on original development basis, – stimulating impulse, non-stimulating impulse, passive impulse, stabilization impulse, inert impulse.
This paper tries to show Dvorak's compositional approach to the central values and meanings of the libretto of Rusalka, by analysis of the dynamic curve of the opera's recording. Two dynamic characteristics can be identified here - the gradually changing world of people, and the stable, silent world of the supernatural beings, differentiating in a way which is reminiscent of the treatment of dynamics in Wagner's Tristan and Debussy's Pelleas. The silent world of supernatural beings, represented especially by the enclosed strophic formations, offers the possibility of thematic introduction of an isolated fortissimo major chord, which does not gradate any more, as a symbol of the supernatural beings' idealised pure idea of 'death', 'love', 'soul' and 'sin'. In the course of the opera, the values become relative. In the final duet, Dvorak changes both worlds, the first time allocating to the Prince and Rusalka the opposite dynamic characteristics (a gradating one for Rusalka, a stable, silent one to the Prince). In the final, newly thematic fortissimo major chord, he again nods to the supernatural beings' idealised ideas of love and death, expressed at the opening of the opera, and makes his treatment of the spiritual values and concept of the libretto clear.
The aim of the article is not to criticise the dominant in Polish sociology of the late 1970s and the early 1980s concepts of social structure and dynamics but to outline proposals for further research and explanation. The first, author discusses the concepts of social structure, conflict and dynamics. The stress is on the activist and relationist concept of structure. Conflict is analysed in three dimensions: behavioral, psychological-attitudinal, and structural. Dynamics is also analysed in three dimensions: changes in the distribution of various social characteristics; social processes; and the stages of development of socialism. The second part discusses theoretical and methodological orientations in Polish macrosociology until the mid-1980s. The third chapter suggests that new research programs should take into account the following perspectives: 1) classic Marxian analysis of social structure, contradictions, and revolutions, 2) contemporary structural Western Marxism, 3) modern conflict theory, 4) critical theory of society, 5) conservative social theory stressing social costs of excessive role of the state, and 6) the elites theories.
The verbalisation of music involves many perils. Musicologists have surmounted those perils by creating suitable concepts and metaphors and by adopting specialised terminology from other scholarly disciplines. The development of scholarly terminology in musicology goes together with the attempt to find the most adequate means for description and characterisation of musical language. One way of doing so is to regard the current of musical sound, flowing in time, as a means of expressing changes of force, tension, quiet or disquiet. This quality of music may be compared to the idea of a dynamised current of sound, in which the listener is able directly to perceive changes of forces, tensions, kinesis and stasis. These changes are conveyed by relationships: harmonic, melodic-formal structural relationships, and also relationships of sound, metre and rhythm, texture, and register.
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