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ТВОРЧА САМОСТІЙНІСТЬ ЯК ОДНА З БАЗОВИХ ЯКОСТЕЙ ОСОБИСТОСТІ МАЙБУТНЬОГО ВЧИТЕЛЯ СВІТОВОЇ ЛІТЕРАТУРИ: ДО ПОСТАНОВКИ ПРОБЛЕМИ

100%

Чайка О.

Педагогічні науки: теорія, історія, інноваційні технології

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2014

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nr 8(42)

384-391

EN

This article analyzes the contradictions interpretation of the concept «creative independence» in psychological, pedagogical and methodical literature. Studying scientific sources on this issue offers that this definition is not widely used in the professional literature. Understanding the phenomenon of creative independence by many scientists does not provide a holistic view on the nature, level and indicators of creative independence of the individual. The lack of unity in the interpretation of the raised problem, in our opinion, is connected not only with its complexity and multidimensional nature, but with the methodological position of the scientists. Thus, the study of various scientific approaches of the scientists to formulate the essence of independence proposes three directions: independence as the quality of the individual; as a characteristic of activity which manifested in independent activity of the students at the different levels of implementation; as a property willed personality. The author insists on the differences between the concepts of «creative independence» and «independence» of the students in educational activities and summarizes conclusions about the significant differences between these categories schematically. The research has indicated some interpretations of the concept «creative independence». In particular, the views of such scientists as P. Pidkasystyy, M. Kuharyev, M. Mahmutov, O. Sadovnikova, D. Haricheva are presented. The gradual transition of the education system to independent activity competency paradigm is dominant among the learning activities, which necessitates the development of creative independence of philology students during their training to teaching world literature at school. Therefore, it is important to lay a new theoretical and methodological research format, which would provide an opportunity systematic analysis of the phenomenology of creative independence. It is necessary to refine the interpretation of the concept of «creative independence» that would fully and thoroughly disclose its contents. Based on the analyzed material the author emphasizes the special role of creative independence as an important quality of future teachers of world literature, which ensures high efficiency of his personal and professional growth. The works with such statement of the problem are not conducted. Accordingly, the article gives a new performance of this problem.

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On monotone dependence functions of the quantile type

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Krajka A. , Szynal D.

Applicationes Mathematicae

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1995-1996

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tom 23

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nr 1

51-72

EN

We introduce the concept of monotone dependence function of bivariate distributions without moment conditions. Our concept gives, among other things, a characterization of independent and positively (negatively) quadrant dependent random variables.

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Chaotic continua of (continuum-wise) expansive homeomorphisms and chaos in the sense of Li and Yorke

86%

Kato H.

Fundamenta Mathematicae

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1994

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tom 145

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nr 3

261-279

EN

A homeomorphism f : X → X of a compactum X is expansive (resp. continuum-wise expansive) if there is c > 0 such that if x, y ∈ X and x ≠ y (resp. if A is a nondegenerate subcontinuum of X), then there is n ∈ ℤ such that $d(f^n(x), f^n(y)) > c$ (resp. $diam f^n(A) > c$). We prove the following theorem: If f is a continuum-wise expansive homeomorphism of a compactum X and the covering dimension of X is positive (dim X > 0), then there exists a σ-chaotic continuum Z = Z(σ) of f (σ = s or σ = u), i.e. Z is a nondegenerate subcontinuum of X satisfying: (i) for each x ∈ Z, $V^σ(x; Z)$ is dense in Z, and (ii) there exists τ > 0 such that for each x ∈ Z and each neighborhood U of x in X, there is y ∈ U ∩ Z such that $lim inf_{n → ∞} d(f^n(x), f^n(y))$ ≥ τ if σ = s, and $lim inf_{n → ∞} d(f^{-n}(x), f^{-n}(y))$ ≥ τ if σ = u; in particular, $W^σ(x) ≠ W^σ(y)$. Here $V^s(x; Z) = {z ∈ Z|$ there is a subcontinuum A of Z such that x, z ∈ A and $lim_{n → ∞} diam f^n(A) = 0}$, $V^u(x; Z) = {z ∈ Z| there is a subcontinuum A of Z such that x, z ∈ A and $lim_{n → ∞} diam f^{-n}(A) = 0}$, $W^s(x) = {x' ∈ X|$ $lim_{n → ∞} d(f^n(x), f^n(x')) = 0}$, and $W^u(x) = {x' ∈ X|$ $lim_{n → ∞} d(f^{-n}(x), f^{-n}(x'))=0}$. As a corollary, if f is a continuum-wise expansive homeomorphism of a compactum X with dim X > 0 and Z is a σ-chaotic continuum of f, then for almost all Cantor sets C ⊂ Z, f or $f^{-1}$ is chaotic on C in the sense of Li and Yorke according as σ = s or u). Also, we prove that if f is a continuum-wise expansive homeomorphism of a compactum X with dim X > 0 and there is a finite family $\mathbb{F}$ of graphs such that X is $\mathbb{F}$-like, then each chaotic continuum of f is indecomposable. Note that every expansive homeomorphism is continuum-wise expansive.

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Estimators of g-monotone dependence functions

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Krajka A.

Applicationes Mathematicae

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1998-1999

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tom 25

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nr 3

253-269

EN

The notion of g-monotone dependence function introduced in [4] generalizes the notions of the monotone dependence function and the quantile monotone dependence function defined in [2], [3] and [6]. In this paper we study the asymptotic behaviour of sample g-monotone dependence functions and their strong properties.

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Galeria Kont (1978–2010). Między Profesjonalizacją a Niezależnością Sztuki

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Janczylik P.

Sztuka i Dokumentacja

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2018

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nr 19

226-237

PL

Artykuł dotyczy funkcjonowania lubelskiej Galerii Kont w latach 1978–2010. W działalności Galerii Kont można wyróżnić cztery etapy od momentu jej założenia w 1978 roku do zamknięcia w 2010. Ostatni etap charakteryzował się próbą profesjonalizacji działalności galerii. Nadano galerii określone ramy organizacyjne, budżet oraz archiwum. Z drugiej strony, organizatorzy Galerii Kont kierowali się zasadami, które zakładały unikanie przesadnej formalizacji działań, preferując działania spontanicznie, podejmowanie ryzyka w doborze artystów czy prowadzenie szerokiej współpracy z artystami i innymi galeriami w Polsce. Galeria nie posiadała sformalizowanego programu artystycznego. W artykule zostały wyszczególnione przykłady niezależnych postaw artystycznych prezentowanych w galerii, które odnosiły się krytycznie do rzeczywistości lub własnej twórczości.