bluuebunny/crossref_metadata_2025_split huggingface dataset:
DETERMINASI RETURN SAHAM PADA PERUSAHAAN SUB-SEKTOR PERKEBUNAN YANG TERDAFTAR DI BURSA EFEK INDONESIA
Authors: Dasril Yuki Dwi Darma , Pujiharta Pujiharta 
Published: May 2023

To get optimal investment returns, of course, investors need to analyze based on financial ratios in the financial statements as indicators of investing decision. This type of research is explanatory which is useful in analyzing the relationship between one variable and another. The source of data used in this study is secondary data that is quantitative in nature with the determination of the sample used by the purposive sampling method and obtained 12 companies in the plantation sub-sector that were sampled in the study. The analytical method used is panel data regression analysis with pool data analysis.
Based on the results of partial test, partially the CPO commodity price variable has a significant effect on stock returns, the profitability performance variable proxied using net profit margin has a significant effect on stock returns, the market performance variable proxied using the price earning ratio has no significant effect on stock returns. The performance of the leveraged leverage which is proxied using the debt to equity ratio has a significant effect on stock returns.
Determination of dynamic loads in the crane lifting mechanism
Authors: Volianiuk Vladimir , Gorbatyuk Eugene , Mishchuk Dmitriy 
Published: May 2023

Loading and unloading is an integral part of the technological process of construction. To perform these works mostly use cranes of different types.
To ensure trouble-free operation and increase the reliability of cranes in the calculation of structures and components of their work equipment, it is important to take into account dynamic loads, which are several times higher than static loads.
Elements of dynamic loads of the crane lifting mechanism are its elastic components - ropes and shafts, which are deformed under the action of loads. The magnitude of this deformation of the elements are taken into account by the coefficients of elasticity or flexibility of linear and torsional or their inverse value - the coefficients of rigidity. These coefficients depend on the linear or angular deformations, respectively.
Due to the fact that the mechanism of lifting a load consists of a large number of elastic elements, the addition and solution of equations to determine these coefficients becomes a difficult task. In order to simplify the equations and these calculations, the paper recommends the above scheme of calculations according to which the rest of all elements of the mechanism are reduced to its first element (engine). This greatly simplifies the equations to be solved and determines the values ​​of the coefficients of elasticity or stiffness of the elements of the dynamic loads of the mechanism of lifting the load of cranes.
According to a similar scheme is also determined by the moments of inertia of the mechanism of lifting the load during periods of acceleration and deceleration, the components of the values ​​that affect them. The equations for determining the terms of transients of the lifting mechanism (duration of acceleration and braking) are derived.
The method of determining the coefficients of elasticity and stiffness of the elements of dynamic loads, moments of inertia, duration of acceleration and deceleration of the lifting mechanism can greatly simplify the solution of complex equations and determine their values ​​with sufficient accuracy.
Taking into account the regularities of physical processes in the constructions of working bodies of dynamic destruction
Authors: Pelevin Leonid , Teteryatnuk Olexander , Komotska Svitlana , Bogdan Fedyshun 
Published: May 2023

In construction and related branches of the national economy, there are many works related to the destruction and movement of soil (laying of communication lines, extraction of minerals and building materials, reclamation and military-engineering earthworks, etc.). Work equipment, which implements the principle of static soil destruction, is one of the most significant criteria that determines the high energy intensity of the work process of modern earth-moving machines. Even the foreign equipment with which state and communal enterprises are now equipped has better characteristics only due to its novelty and universal design. However, the main problem - reducing the energy intensity of soil massif development - remains unsolved.
The processes of destruction of working environments are destructive. All real processes are irreversible, that is, the entropy of an isolated (closed) system can only increase. For open systems, where there is an exchange of matter with the environment, as well as energy and momentum, entropy can decrease due to replenishment of the system with matter and energy, but the direction of natural processes does not change.
Complex and non-linear processes of development of work environments are characterized by both directions of flow of the components of these processes. The description of the evolution of systems due to the movement of working environments as degradation processes is proven and scientifically substantiated by the second law of thermodynamics, the evolution of the system in the sense of organization for all its components - by synergy.
The constructive implementation of the working bodies of construction machines in such a way, when the co-direction of the destruction processes with the flow of natural processes is implemented, allows to significantly increase the informativeness of the work of the construction machine. Such processes lead to a drastic reduction of resource costs per unit of production and improvement of all parameters of the development of working environments.
Considering the above, as well as the need to reduce Ukraine's energy dependence on other countries, there is a need to develop and create low-energy, high-speed working bodies of earthmoving machines.
When forming the face, it is necessary to take into account that the destruction process must coincide with the direction of the natural destruction process in order to reduce energy costs.
Decoding Biblical Ritual in Cultural Actions
Authors: Volkova Galyna 
Published: May 2023

The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritual-biblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformation-dematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like "development" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, "fertilising" them with the content and density of the ideological and figurative expression.
Key words: biblical rituals, recognition, compensatory, expressive means of literature and fine arts, works of art.
Interpretation of Spanish Dance in Antonio Gades’s Stage Choreography
Authors: Vakulenko Olesya 
Published: May 2023

The purpose of the article is to reveal the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades. The research methodology. A set of methods typical for art analysis is applied. To study the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades, the problem-logical and general scientific method of modeling is applied, as well as the iconological method, that enabled a formal analysis and determination of symbolic meanings by revealing the national and cultural roots of the dance. Scientific novelty. The production activity of the leading Spanish choreographer Antonio Gades is studied; the peculiarities of the interpretation of Spanish dance in the process of working on stage productions are considered. For the first time in domestic art history, the choreographic performances by A. Hades «Blood Wedding, or Bodas de Sangre» («Blood Wedding, or Bodas de Sangre», 1974), «Flamenco Suite» («Flamenco Suite», 1989), «Fuenteovejuna» («Fuenteovejuna», 1994) are analysed. Conclusions. The study of the productions by A. Hades revealed a peculiar choreographic handwriting, the originality of the choreographer's decision and the individuality of plastic interpretations of Spanish dances. In the process of creating choreographic productions full of conceptual unity and depth, the master positions Spanish dance as a universal style with huge expressive possibilities, which allows him to non-verbally represent classic works of European literature in different parts of the world, in particular «Bloody Wedding» by F. García Lorca, «Fuenteovejuna» by Lope de Vega, «Carmen» and others. According to A. Hades, any work of art can be understood only in the unity of its content, means of artistic expression and cultural reminiscences (memory, echo, echo, which lead to comparison with something), which provide a kind of "connection of times" in the mind the viewer. The choreographer demonstrates this approach in the process of translating famous Spanish literary and dramatic works into the language of dance, turning to national dances, in particular the Pasodoble ballroom dance, Spanish folk dances Bolero, Cachucha, Muneira, Segidilla, Sarabanda, Sardana, Fandango, as well as dances in the southern Spanish Flamenco style.
Key words: Spanish dance, dance interpretation, flamenco, Antonio Gades, stage choreography, choreographic productions.
"The Little Prince" Ballet Performed by Radu Poklitaru: Features of Implementation of Classics
Authors: Afonina Olena 
Published: May 2023

The purpose of the article is to reveal artistic images in "The Little Prince" ballet performance by Radu Poklitar with music by V. A. Mozart and Ukrainian lullabies performed by Maria Pylypchak. The methodology of the work is based on cultural analysis with elements of musicological analysis. The performed analysis provides familiarity with the ballet performance, the production of which took place on the theatre stage. Based on the synthesis of the obtained research results, the regularities of stage development in the interaction of choreography, music, and visualisation were established. The method of generalisation helped to record the sequence of formation of ballet images, disclosure of events in dialogue with music and visual series. The scientific novelty of the work lies in the fact that the analysis of the said ballet by Radu Poklitaru has been conducted. The interaction of choreography, music, and visual series in the embodiment of the philosophical fairy tale by Antoine Saint-Exupéry is revealed. The text of the article can be used when preparing a lecture on teaching music-theoretical and music-historical disciplines. Conclusions. Based on the analysis of "The Little Prince" ballet performance, the musical characteristics of the Little Prince, Rose, Snake and other actors were revealed by Radu Poklitaru. The stage unity of choreography, music, and visual series helped embody artistic images in the music-theatre genre. Choreography (elements of classics, free movements, imagery in movements) is supported by musical emotion and visualisation. The visual series significantly influenced the transmission of the philosophy and content of the literary source. The dramaturgy of the ballet is subordinated to the plot development. The musical basis of ballet became the basis for the realisation of artistic images in ballet: Mozart's works (Symphony No. 1, Fantasia in D minor, Piano Concerto with Orchestra No. 23, Part 2) and Ukrainian lullabies.
Key words: embodiment of the classics, literary source, piano music, symphony, fantasy, artistic image, Radu Poklitaru’s "The Little Prince" ballet, Wolfgang Amadeus Mozart, Ukrainian lullabies.
"Chasing Two Hares" Ballet by Yurii Shevchenko as a Unique Phenomenon of Ukrainian Musical Culture
Authors: Sadovenko Svіtlana 
Published: May 2023

The purpose of the article is to consider the specific characteristics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by Yurii Shevchenko, a composer. The research methodology consists in specifically scientific methods (historical, system-analytical, hermeneutic, and generalisation), which allow to conduct an objective study of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture. Specific musicological methods are also applied. The analysis of musical notation is used to consider the musical form of ballet, its harmonic structure, rhythm, and melody. The study of a ballet production enable understanding the author's use of ballet music to create an atmosphere, express emotions, and convey the plot. The performative analysis helps study the interaction of ballet music with other elements of ballet. The scientific novelty is in substantiating the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by the composer Yurii Shevchenko and updating the meaning of the composer's work in the context of the latest conditions of functioning of the Ukrainian musical theatre. Conclusions. The actualisation of theoretical studies in the field of musical culture and art is determined by the demand for the study and explanation of their intensive development. The experience of creating various forms of ballet and theatre music manifests the specific characteristics of modern musical art in Ukraine. In this context, consideration of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of Yurii Shevchenko's ballet "Chasing Two Hares" is considered relevant. Researching the theatrical and musical works of Y. Shevchenko and his music for the "Chasing Two Hares" ballet, we justify that ballet music appears as an expression of a new theatrical language – the language of optimism and high moral qualities. At the same time, musical theatre acquires psychotherapeutic characteristics, helping to survive the complex realities of life and restore faith in justice, which is especially relevant in today's realities. Yurii Shevchenko's compositional work, on the example of the "Chasing Two Hares" ballet, is an original phenomenon of modern musical culture and constitutes a significant component of Ukrainian culture and art.
Key words: "Chasing Two Hares" ballet, Yurii Shevchenko, Victor Litvinov, ballet music, choreography, musical theatre, theatre music.
Mykola Lysenko’s «Kupalo Case»: Concert and Choral Implementation of Folk Rite
Authors: Synkevych Nataliia 
Published: May 2023

The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance.
Key words: composer, folklore, calendar ritual, Kupalo, choral texture, piano part.
Creative Narratives of Contemporary Ukrainian Composers as a Subject of Musicological Analysis
Authors: Stepurko Viktor 
Published: May 2023

The purpose of the article is to determine the creative narratives of contemporary Ukrainian composers from the point of view of musicological analysis taking into account structuralist and poststructuralist intentions in music as a postmodern attitude. The article also aims to investigate the existing compositional structures (at their various levels) in close interrelation of intellectual and hermeneutic reading of the composer's artistic intention with the physical parameters of the work. The research methodology is related to the analysis of the sphere of expression of human thinking and the communicative process, with the consideration of the narrative as a certain discursive structure formed on the basis of a person's own experience, presented by the analytical mechanisms of musicology, in particular, systemic and comparative approaches that help determine the specificity of certain compositional structures in music in comparison with others, to trace the change of approaches of different composers to systems of symbolism in musical art, communication with the listener or appeal to closeness at the level of inner feelings and mystical suggestions. The scientific novelty consists in revealing the specifics of forming narratives in music as a process that combines an appeal to the social component or the inner feelings of the composer, his/her isolation from society, a negative and ironic attitude towards modernity, the search for virtual mystical «worlds» as a sign-sound space. Conclusions. The rigidity of authoritarian thinking in the field of culture leads to the appearance among composers and musicians of supporters of the idea of «art for art's sake», fascination with avant-garde technology, and orthodox maxims of lovers of «pure» classics. It is obvious that the new way of thinking about musical art should consist in the restoration of sincere, true creativity and the understanding of beauty as the basis of art, what it should serve, in particular, the musicological analysis of works from the standpoint of narrative technologies as a system of complex interdisciplinary research.
Key words: musicological analysis, poststructuralist intentions, mystical suggestions, social component, narrative technologies.
Specific Features of Sound Director's Work in Wartime
Authors: Kryshtal Olexandr 
Published: May 2023

The purpose of the article is to substantiate and identify the features that help a theatre sound engineer to ensure the holding of a cultural and artistic event in any conditions. The research methodology is based on the principles of historical, cultural, and interdisciplinary approaches, the use of general scientific methods, synthesis, and generalisation. A systematic approach was used for the analytical measurement of the components of the problem. In order to study the interconnected and interacting elements of the process of creating a musical image, the system-structural method was used. The method of generalisation was used to draw the conclusions of the study. The scientific novelty consists in the cultural dimension of the peculiarities of the musical image creation of the performance through the conceptualisation of the idea that the work of a theatre sound engineer is an integral part of artistic culture; it contributes to conveying this work to the viewer and immerses the audience in the specific environment of the performance. It also involves people in the active process of communication and creativity, which is an important component of the Ukrainian national socio-cultural continuum. Conclusions. The analysis of the problems of creating a musical image and the specifics of creating a certain musical environment in which the performance takes place, the systematisation of certain theoretical and practical tools for the creation and reproduction of the musical design of any cultural and artistic events (including theatrical performances) allows us to state that theoretical knowledge and the creative activity of the theatre sound engineer as an artist forms a harmonious whole, contributes to the generation of new ideas regarding the practical use of the sound engineer's activities, especially in conditions unsuitable for the above-mentioned events.
Key words: music design, sound image, sound design, sound, cultural and artistic events.