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53) organization of the distributed training system in the field of logistics in regions;
4) improvement of transport infrastructure taking into account prospects of state economy development;
5) embedding priorities of logistics in the current problems of economic development, especially in crisis conditions (Nosov, 2009);
6) legislative ensuring through logistic activity.
REFERENCES
1. Nosov A. L. (2004) "Quality management of educational process with use of logistics". Secondary professional education. No. 5. Pp. 8.
2. Stock J. R., Lambert D. M. (2005) Strategic management of logistics. Translated from the 4th English edition. Moscow. INFRA-M.
3. Nosov A. L. (2007(I)) Regional logistics. Moscow. Alfa-Press publishing house.
4. Nosov A. L. (2007(II)) "The balanced system of indicators in management of logistic processes and systems". Logistics today. No. 1. Pp. 20-23.
5. Nosov A. (2009) "Regional logistics in the conditions of crisis". Logistics. No. 1.
6. Nosov A. L. (2013(I)) "Synergetic interaction of subjects of logistic activity", Logistics today. No. 1. Pp. 18-29.
7. Nosov A. L. (2013(II)) "Place of logistics in the environment of professional education". The scientific-methodological electronic magazine "Koncept". Vol. 11. Pp. 56-63.
8. Nosov A. L. (2015(I)) "Innovations in development of regional logistic infrastructure". Innovative development of economy. No. 1 (25). Pp. 42-47.
9. Nosov A. (2015(II)) "Opportunities of logistics in decreasing final cost of products". Modern European Researches. No. 3. Pp. 142-145.
DRAWING METHOD "FROM A SPOT" IN PEDAGOGICAL ACTIVITY AS A MEAN FOR SPECIAL PREPARATION ON DRAWING AND PAINTING
Abstract
On the example of two main drawing methods designated as " classical method" and "baroque method", the author made the research in the field of drawing on application of both methods, when performing educational sketches of human figure. The author concludes about the importance of applying "baroque" method after initial studying of "classical" method.
Keywords
operated destruction, baroque method, classical method
AUTHOR
Natalya Ofitserova
PhD student, Master of Pedagogy Institute of Arts Moscow Pedagogic University Moscow, Russia
Relying on experience of researchers of different times and eras, concerning various techniques in the fine arts, would be actual to address two fundamental methods. Their names for this day differ enough. In the context of G. Vyolflin's theory, S. A.
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Gavrilyachenko describes the concept "baroque" as the emotional, picturesque approach to drawing designated by us as drawing "from a spot". "Appreciating G. Vyolflin's theory about periodic changes of two beginnings - "classicism" (metaphysical rationality) and "baroque" ( operated destruction), it is necessary to remember both objectively drawing organization of space, and its overcoming by emotions of the light-tone environment interfering on a rigid design of linear prospect. The sacrament is changing rationalism by "baroque" means of light at fundamental preservation of respect to realistic appearance of embodiment". Opposite to the "baroque" method, it is possible to put the linear method, which was covered in Alexander Mikhaylovich Komrakov's article about Boris Aleksandrovich Dekhteryov's methods of teaching. "Dekhteryov considered that the method, when drawing begins with linear construction, which he called "constructive and plastic", corresponds to a problem of studying and statement of form" (Volkov, 1950).
Wolfflin's duality (its application not only for the analysis of works, but also practical educational methodology) requires development of concrete techniques, consistently connected in system of continuous education (in system of preschool, school and additional art education). "Metaphysical rationality" became more important. Therefore, it is worth paying attention to equilibration of two these principles and approaches in drawing in system of various existing techniques. There is some overweight of "baroque" (the operated destruction) or drawing method "from a spot", as when training drawing and painting the rigid linear design can "extinguish" vision of the light-tone relations and complete perception of objects in the light-shade environment.
Thus, linear-constructive drawing should not "suffer" in its basis. Receptions and techniques allow "to distract" from linear construction, demanding high concentration and analysis of form for creation of the work, where knowledge about subject design will come to light without design portrayal at the level of "congenital" literacy. Such techniques are monotipiya, linocut, etching, dry needle, water color, oil and tamper painting, etc.
These techniques will not be able to replace that literacy, which needs to be mastered by means of linear drawing, but can become assistants in development of fine arts, in particular drawing and painting at various educational levels. "Appreciating both methods of drawing, B. A. Dekhteryov considered that during study the problem of mastering construction and molding of form has to be solved by the young artist earlier, than he will attempt to transfer visual impression of it. Therefore, to start drawing by "picturesque" method is necessary after mastering "constructive and plastic" one".
The drawing method "from a spot" is accompanied by choice of material and light variation of the represented object. Giving tasks for various light environment (lateral and direct light), we apply techniques corresponding to lighting. Therefore, lighting on direct light is suitable for drawing silhouettes with exact definition of contour - drawing one figure or for performance of linear sketches. More often, the used tone work on subjects by means of graphitic pencil is long and labor-consuming task, promoting derivation from emotional visual impression. Long tiresome studies with linear drawing of air prospect cultivate deep understanding of form. The recorded rigid lines of solids volumes, transparent constructions, detection of easy tone are the primary source for understanding volume, form and design of both solids, and any other subjects. Drawing "from a spot" should be directed by lateral lighting, characteristic for two and more figures, complex subject compositions. N. N. Rostovtsev wrote "For example, on additional classes (independent work in a workshop) for drawing educational task "Drawing of a naked man's body in a simple pose on a neutral background", you asked the model to get up easy with the emphasis on one foot. The pose was natural and expressive. Light of spotlights effectively emphasizes the main mass of a person's body..." In turn, harmony of light and shade is the way to understand the world, to analyze it. "Reasonable distribution of light serves for creation unity and order of a form of a difficult subject. The same can be told about a set of the subjects collected in a picture or on a scene, because all represented
in a picture is one big subject, where all concrete subjects are its components. Artists, as Caravaggio, sometimes used strong lateral light to simplify and coordinate the spatial organization of the pictures. Renee de Piles, the French writer of the XVII century, said that if subjects are located in such a way that the whole world is gathered on one party, and shadow is on the other, such meeting of light and shadows will prevent an eye to wander" (Wolfflin, 1994).
Depending on tasks, which the teacher sets for pupils, materials and sequence of work can change. Like Caravaggisti and baroque artists, the initial basis of drawing or painting can be the tinted plane (leaf, canvas). "Tintoretto and Caravaggio replaced red-brown on dark, where they put the most dense shadows, and then directly painted a picture, gradually passing from a background to a shadow. The picture changes the status; unexpectedly there are subjects on a background; colors splash from the general background testifying to their dark nature; figures are defined not so much by contours, but by covering. Nevertheless, all this does not resist to light, on the contrary, it arises thanks to the new mode of light. Wolfflin took lessons of this gradualness of the light, increasing, weakening and transferred on a scale of shades. It is relativity of lighting (as well as of movements), indivisibility of light and shade, disappearance of contours, i.e. everything that resists Descartes remaining the Renaissance person from the double point of view: physics of light and logic of idea". The tinted plane will already be "spot". Quite difficult and even senseless is trying to reveal by the line and contours those objects, which we want to represent on the tinted plane. It is simpler to resort to "wipe" light spots by eraser, thus keeping light and shadow without splitting them up by planimetric searches and excess details.
Characteristic sign in drawing at art schools is drawing with an easy treatment of light and shade, classical model of development of form and spatial thinking. We open to pupil stages of creation of a subject, existence of linear and air prospect, but it alienates pupils from vision of big light-and-shade masses. In turn, it reflects in ability to see tone in painting. Similar studying of drawing is fundamental and flows from school to colleges and higher educational institutions.
Giving classes in drawing for 2nd and 3rd year students (12-13 years) at Children's School of Arta after V. V. Kraynev, I saw communication and regularity in learner's perception of tone, when performing problem with various stage-by-stage tasks. In the case, when pupils needed to represent a form by means of line, it was extremely difficult to pass to light-tone drawing and to define light tuning forks. In this case, it concerned sketches of person from nature. Sketches were carried out with soft materials. Considering already available "picturesque" properties of the material, even linear approach to drawing could be executed in more interesting light-tone gradation (figure 1).
When pupils used the method "from a spot", the result was more effective. By means of grinding sauce (or sanguine, coal) on a sheet of paper, we received a light-tone basis, in fact being ready penumbra, ready for adding light and shade and specifying details. First, pupils found bright light spots by eraser then passed to search shadow spots (figure 2).
In sketching, lateral lighting, clothes with sharp accent on light to dark or dark to light are important. Lighting with a lateral orientation, allocating light on a figure, focuses attention on light-tone compaction of a background. Rather often lateral light is used for still lifes, work with the plaster head, interior statements. When performing similar statements, sometimes there is a task to transfer light and shade, materiality, texture, deep tone. Linear-constructive construction could be the orientation for such works. Then there is a sense to address either to natural lighting, or to direct light.
The method "from a spot" and linear-constructive method cannot be divided on better and bad. There is no sense to claim what better. Boris Aleksandrovich Dekhteryov said the question is what method should be used more often, and whether it is worth
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introducing the other way to balance methodical forms. It is possible to note that use of the line prevails over a spot at both art schools, and comprehensive schools. Therefore, considerable overweight and prevalence of one over another can have an adverse effect on further pupils progress in drawing.
FIGURE 1
FIGURE 2
REFERENCES
1. Arnheim R. (1974) Art and visual perception. Moscow. Progress, 392 p.
2. Deleuze G. (1998) Fold. Leibniz and baroque. Moscow. Logos, 264 P.
3. Gavrilyachenko S. N. (2010) Composition in educational drawing. Moscow. SkanRus. 192 P.
4. Lebyodko V. K. (1994) Spatial representations in creative development of the artist-teacher. Moscow. Art graphic faculty. 409 P.
5. Radlov N. E. (1978) Drawing from nature. 3rd edition. Moscow. Artist of RSFSR, 120 P.
6. Volkov N. N. (1950) Perception of subjects and drawing. Moscow. Publishing house of Pedagogic Sciences Academy of RSFSR, 508 P.
7. Wolfflin H. (1994) Basic concepts of history of arts: A problem of evolution of style in new art. Translated from German. Saint-Petersburg. Mif-ril, 427 P. Classics of Art Studies.
THE ORGANIZATION OF STUDENTS INDEPENDENT WORK TO STUDY THE TOPIC "HOLOCAUST" IN THE RUSSIAN EDUCATIONAL ORGANIZATIONS
Abstract
The author analyzes opportunities for the organization of students independent work to study the topic "Holocaust" in the Russian educational organizations.
Keywords
Holocaust, "final decision" of Jewish problem, World War II, organization of students independent work
AUTHOR Yulia Pershina
PhD in History, Associate Professor Department of Theory and History of State and Law Vyatka state university
Kirov, Russia ule4kina@yahoo.com
Holocaust acts as a component of World War II history. Studying this subject gives the chance to comprehend this national Accident as the universal tragedy.
Scientists and methodologists have no uniform point of view about how to include this difficult material in educational process. At the Russian schools, studying the Accident of the European Jewry can be carried out within subjects: "General history" (topics "Increase of Aggression and Fight for Peace. German Nazism", "Growth of International Tension", "World War II"), "History of Russia" (topics "Great Patriotic War"), "Social science" (topics "Good and Evil", "Regulation of People's Behavior in Society", "Political regimes", "Rights and Freedoms of Person and Citizen", etc.), "Right" (topics "Human Rights Violations", "Crime", etc.).
The most optimum option, in our opinion, is studying Holocaust in the general history course.
The purpose of studying the topic is to analyze possibilities of tolerance upbringing, development of historical thinking of trained through judgment the separate aspects of Accident of the European Jewry.
Problems of studying the subject:
1) In educational process to create the system of the students' valuable relations Holocaust in the countries of Western and Eastern Europe, in occupied territories of the USSR.
2) To master the ways of activity, applicable both within educational topic, and at problem solution in real life situations.
